Boxoffice - February 2017

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FEBRUARY 2017

B O X O F F I C E P R E S E N T S

BOXOFFICE IN ASSOCIATION WITH THE NATIONAL ASSOCIATION OF THEATRE OWNERS PRESENTS “THE GIANTS OF EXHIBITION”

STARRING AMC ENTERTAINMENT INC. REGAL ENTERTAINMENT GROUP CINEMARK USA INC CINEPLEX ENTERTAINMENT LIMITED PARTNERSHIP MARCUS THEATRES CORP.

HARKINS THEATRES SOUTHERN THEATRES LLC B & B THEATRES NATIONAL AMUSEMENTS INC. MALCO THEATRES INC.

WITH LANDMARK CINEMAS OF CANADA GOODRICH QUALITY THEATERS PREMIERE CINEMA CORP. COBB THEATRES III BOW TIE CINEMAS

LANDMARK THEATRES GEORGIA THEATRE COMPANY READING CINEMAS STUDIO MOVIE GRILL FRANK THEATRES

FEATURING SIGNATURE SPONSORS ARTS ALLIANCE MEDIA DOLBY LABORATORIES FANDANGO NATIONAL CINEMEDIA PEACH DIGITAL WEBEDIA ENTERTAINMENT

The Official Magazine of the National Association of Theatre Owners


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FEBRUARY 2017

VOL. 153 NO. 2

OUR ANNUAL

TALLY OF THE 50

LARGEST EXHIBITION

CIRCUITS IN

NORTH AMERICA

BEGINS ON PAGE

HELLO by Julien Marcel 5

EXHIBITION BRIEFS edited by Laura Silver 6

NATO COMMUNIQUÉ

The world shrinks as exhibition gets larger: Consolidation—

12

an industry standby—crosses borders by Patrick Corcoran

GOVERNMENT RELATIONS

14

You’re hired: Confirming the president’s cabinet by Esther Baruh

GIANTS OF EXHIBITION

A new leader: Adam Aron’s first year in charge of AMC brings

22

changes to the exhibition industry by Daniel Loria

A global giant: Three high-profile acquisitions turn AMC into

24

the world’s largest exhibitor by Daniel Loria

Transforming a moviegoing experience: Cinema exhibition is gearing up for

26

customer experience and globalization by David Hancock

The Giants of Exhibition 28

EVENT CINEMA

Event cinema’s Giant of Exhibition recaps an eventful year

34

(forgive the pun) and looks forward to a big 2017 by Daniel Loria

CONCESSIONS STAND

An expertise in hospitality: Interview with Rob Novak, Vice President

36

of Concessions and F&B, Marcus Theatres by Daniel Loria

EXHIBITOR MARKETING presented by Webedia Entertainment

Indie Marketing Coalition lifts independent exhibitors into the

38

realm of giants by James Devin

CHARITY SPOTLIGHT 39

TECHNOLOGY

40

The latest in audio and virtual reality

INSIDE YOUR THEATER

News about Dolby Cinema, GDC Cinema Lobby Experience,

42

and Harkness Screens

NEW PRODUCTS 44

BOX OFFICE ANALYSIS

Beating the spread: A look at some of the biggest surprise hits

46

at the box office in recent years by Jesse Rifkin

SOCIAL MEDIA

Timeline review 2016: A look back at the year in

48

social media tracking by Alex Edghill

3D CALENDAR presented by RealD 50

ON SCREEN

52

Capsule previews of upcoming wide-release films by Kenneth James Bacon

EVENT CALENDAR 64

BOOKING GUIDE

65

Booking details for over 150 upcoming releases

CLASSIFIEDS 72

FEBRUARY 2017 BoxOffice ® 3


Julien Marcel

CEO

Webedia US

GIANT!

n For those of you living north of Los Angeles, this month’s frigid weather makes it

particularly difficult to get excited for February. Everyone here at Boxoffice, however,

has looked forward to the month ever since we began to dedicate the February

issue to our annual Giants of Exhibition feature. With a number of high-profile

acquisitions coming from members on the list, along with trends in the industry at

large, the word “Giant” feels especially appropriate for our annual ranking of the

biggest exhibitors in North America according to screen count.

Echoing the words of our friend David Hancock, research director, film and

cinema, at IHSMarkit and the president of the European Digital Cinema Forum,

the term “Giant” doesn’t only apply to exhibition circuits—it’s also a reflection of the wide proliferation of

innovative sound and screen technology, as premium and premium large-format auditoriums continue to grow

in popularity around the world. The term can also be applied to another resilient year at the box office, with

a second consecutive year over $11 billion in North America. On the distribution side, we would be remiss

not to mention Disney for becoming the first studio to break the $7 billion global threshold with a massively

successful $7.6 billion 2016.

Returning to our ranking of the year’s top exhibitors, we’ll state the obvious by reminding readers of the big

change in this year’s list. The biggest story of 2016 in our industry had a direct impact on this year’s issue:

AMC’s acquisition of Carmike Cinemas vaulted the company to the pole position on our list. We are therefore

excited to feature an interview with AMC’s chief executive officer, Adam Aron, who has been able to lead the

company into a multinational circuit with over 10,000 screens.

We hope you enjoy this issue, especially considering the limited downtime we’re all experiencing as we ramp up

our preparations for CinemaCon 2017. Until we meet again in Las Vegas, we extend our warmest wishes for

this winter.

Julien Marcel

Publisher

Boxoffice Media

FEBRUARY 2017 BoxOffice ® 5


EXHIBITION

BRIEFS

WEBEDIA ACQUIRES MAJORITY

STAKE IN PEACH DIGITAL

UK firm bolsters digital and marketing solutions for exhibitors

n Boxoffice parent

company Webedia has

acquired a majority stake

in UK-based Peach Digital

Limited, a leader in cinema

web development and

digital marketing. Peach’s extensive

experience delivering high-end,

reliable web solutions for exhibitors

has allowed the company to gain

significant market share in both

the UK and the U.S. over the past

decade.

The Peach acquisition reinforces

Webedia’s existing assets in Europe

and the United States, adding the

Peach Cinema Web Platform, featuring

the middleware application

that is central to Peach’s online

cinema offering. Peach’s 15 years of

expertise and sector knowledge is

poised to help the group’s growing

list of exhibitor partners deliver

enhanced returns from their online

channels.

The Peach brand and service

offering will be maintained and the

organization will continue to be run

by the existing management team.

Being part of the larger organization

with an extensive international

reach will allow Peach to access

new markets and offer a wider

range of products and services.

Mike Rose, Peach CEO, said:

“This investment represents a key

milestone in the growth of Peach,

allowing us to expand our

physical operations into

the U.S. and beyond. It

will allow us to provide a

much more locally focused

service to our clients and

a wider range of products. We are

looking forward to working with the

Webedia team to further build our

product offering and our position in

the exhibition and the wider cinema

sector.”

Julien Marcel, CEO of Webedia

US, added: “Following the acquisition

of Côté Ciné Group, BoxOffice

Media, and West World Media

in 2015, our investment in Peach

marks a new step in the expansion

of Webedia services to the exhibition

sector. The range and depth of

their digital marketing experience

is well known within the industry,

and the Peach Cinemas platform will

allow us to increase our penetration

of existing markets and open new

international territories.”

D-BOX

WELCOMES

RICHARD

LABERGE

AS VP

n D-BOX Technologies

Inc. has

announced the

appointment of

Richard LaBerge

as vice president of

business development

and content acquisition for D-BOX.

LaBerge brings over 20 years of experience

in sales and business development

to this new role. Among his many responsibilities,

he will negotiate and acquire

value-added content for VR, theme parks,

home entertainment, and racing simulators

from international production studios and

distributors.

According to D-BOX, his hiring represents

another step in the company’s overall

plan to play a bigger role in the widely

anticipated growth of the VR and gaming

industry in the coming year.

“We are excited to welcome Mr. LaBerge

to the company. His vast experience, impressive

connections, and proven ability to work

on an international scale are attributes that

will serve us well as we move full force into

2017,” said Claude Mc Master, president

and chief executive officer of D-BOX. “We

are confident that he can help us build on

our presence in the VR and gaming market

and identify suppliers who can successfully

incorporate our innovative technology into

their content.”

Prior to joining D-BOX, Laberge

co-founded Sensio, a 3D technology company

in the cinema and home entertainment

industries, where he managed the sales force

and was directly involved in taking the

organization from a start-up to a publicly

traded company. Laberge holds MBAs from

HEC Montreal and the University of North

Carolina.

IMAX, REGAL SIGN

11-THEATER AGREEMENT,

BRINGING PARTIES TO 100TH

THEATER MILESTONE

n IMAX Corporation and Regal Entertainment

Group have announced an expansion

of the companies’ existing joint revenue-sharing

agreement to include the installation of

11 additional IMAX theaters in the U.S.—

6 BoxOffice ® FEBRUARY 2017


inging to 100 theaters Regal’s total IMAX

network. The companies intend to open the

new joint-venture theaters in new and existing

complexes in U.S. markets. The expanded

agreement provides for an additional two

years of operation and an adjusted financial

formula for all Regal IMAX joint-venture

locations.

“For nearly 20 years, Regal has brought

the IMAX Experience to millions of moviegoers

across the U.S. We are excited to

reach the 100th-theater milestone with such

a valued partner and tremendous IMAX

ambassador, who has helped us to expand

our reach from coast to coast and in cities

big and small,” said IMAX CEO Richard L.

Gelfond.

“We believe in the strategic value IMAX

delivers to our business, which is why

we’re increasing our IMAX footprint and

extending the length of our agreements for

all of our IMAX sites,” said Amy Miles,

CEO of Regal Entertainment Group. “Regal

is focused on delivering the best customer

experience and we believe that IMAX both

delights our guests and drives incremental

revenue for our business. We are excited to

mark our 100th IMAX theater commitment

with today’s agreement.”

CJ CGV

AMERICAS

NAMES

RICHARDSON

AS FIRST

COO

n CJ CGV has

named Paul Richardson

as the first

chief operating officer

of CJ CGV Americas. The move comes

as the company looks to increase its presence

in the U.S. marketplace. CJ CGV Americas

currently operates a three-screen cinema in

L.A.’s Koreatown and has nearly completed

a new eight-screen complex in Buena Park,

Calif., which opened in January.

Richardson had previously served as president

and CEO of Sundance Cinemas and

earlier in his career as president and CEO of

Landmark Theaters.

Richardson said, “My recent trip to

tour CJ CGV’s theaters in Seoul was the

eye-opener that sealed the deal. While there

I witnessed the most innovative and creative

thinking about the moviegoing experience

I’ve seen anywhere in the world.”

Mark Shaw, chief executive officer of

CJ CGV Americas, added, “We believe the

timing is right to expand our footprint in the

U.S., and we are putting significant resources

behind the effort, including the hiring of Mr.

Richardson to lead the way.”

CJ CGV operates 2,821 screens at 368

locations in seven countries.

GOLD MEDAL

APPOINTS NEW

MARKETING VP

n Gold Medal Products

Co. has appointed

Stephanie Goodin to the

position of vice president

of marketing.

Goodin has been with the company since

2007 and served as director of marketing.

She is responsible for leading the marketing

efforts for a worldwide distributor network of

FEBRUARY 2017 BoxOffice ® 7


EXHIBITION BRIEFS

CHICAGO’S DAVIS

THEATER REOPENS

AFTER $5 MILLION

RENOVATION

n A piece of Chicago’s history

was recently reclaimed with the

reopening of the 98-year-old

Davis Theater in Lincoln Square.

After undergoing a $5 million

renovation to restore its original

character and make improvements,

the iconic theater reopened

its doors on December 15, in

conjunction with its new dining

and drinking counterpart, Carbon

Arc Bar & Board.

The Davis Theater shows firstrun

movies alongside alternative

programming such as prominent

sporting events, concert streaming,

and the Metropolitan Opera

Live.

“The Davis Theater is the

oldest continuing operating

theater in Chicago. The redevelopment

is a true passion project

and celebration of the arts in both

film and food, and we believe

will be a cornerstone in Chicago’s

entertainment industry,” said Tom

Fencl, principal.

The Davis Theater, now on

the National Register of Historic

Places, captures the look and feel

of the original Pershing Theater,

which opened in 1918. A collaboration

of Kennedy Mann Architecture

and Analogous Design, the

19,000-square-foot Art Deco–inspired

space houses an expansive

300-seat theater with stadium

seating (the previous two rear

theaters have been combined into

one) and two 150-seat theaters.

Original organ pipes, a nod to its

extraordinary past, were uncovered

in the larger theater.

Located adjacent to The Davis

Theater, Carbon Arc Bar & Board,

the new full-service neighborhood

restaurant and bar, serves

up contemporary American fare

alongside well-made cocktails, a

thoughtful whiskey collection,

wines, and an extensive selection

of beers. In addition, moviegoers

can conveniently satisfy their

hunger and quench their thirst

with Carbon Arc’s elevated, quick

service by taking their food and

drink into the theater on trays

designed to fit the cup holders.

more than 500 members. From direct marketing campaigns to catalogs,

websites, and social media, Goodin sets the vision and works side

by side with her team to execute plans that foster business growth.

CEO and Chairman, Dan Kroeger said, “Gold Medal’s brand

is at the forefront because of Stephanie’s contributions. Her tireless

work ethic and loyalty are unparalleled. I congratulate her on this

next step in her career and look forward to all she will accomplish.”

SCREENVISION SIGNS 11 AGREEMENTS,

CREATES ADVISORY PANEL

n Screenvision Media has signed several long-term agreements totaling

1,790 screens across 170 theaters with 11 exhibitors: National

Amusements, Premiere Cinemas, Studio Movie Grill, Frank Theatres,

Cinépolis, Classic Cinemas, Emagine Entertainment, Zyacorp Entertainment’s

Cinemagic Stadium Theatres, Zurich Cinemas, CineLux

Theatres, and Cinema Café. Collectively, theaters included in the

agreements span 52 different markets with significant presence in

New York, Chicago, Boston, Dallas, and Detroit.

“We are thrilled to move forward with these key strategic

signings, as they reinforce our network strategy of aligning with

exhibitors that create the most value for advertisers and share our

vision,” said John Partilla, CEO, Screenvision Media. “We take our

leadership role within this exciting and rising-tide sector of cinema

advertising very seriously, and are investing in areas that will be

accretive to exhibitors and advertisers—including technology and

data. We look forward to working with and lending our resources

to exhibitors to help grow their businesses.”

Screenvision Media launched an industry-first Exhibitor Advisory

Panel at ShowEast 2016. The panel will consult with and advise

Screenvision Media’s exhibitor-relations team on how best to drive

business and best practices to increase value for both its exhibitor

network and advertisers.

Screenvision Media’s exhibitor-relations team has recently led the

introduction of a number of new initiatives:

• Technologies such as geo-fences, beacons, interactivity, and

enhanced lobby displays will now be available to Screenvision Media

exhibitors. These technologies contribute to the engagement of moviegoers

before, during, and after the movies through the Connected

Cinema platform.

• Event-cinema programs will give exhibitor partners the opportunity

to increase attendance during off-peak times by bringing

exclusive, one-time-only special events to the big screen.

STX AND EUROPACORP SIGN MULTIYEAR

AGREEMENT

n STX Motion Pictures Group, a division of STX Entertainment,

and EuropaCorp Films USA have entered into a three-year agreement

for STX to provide theatrical marketing and distribution services

for EuropaCorp’s upcoming motion picture releases in the United

States. The announcement was made by Adam Fogelson, chairman,

Motion Picture Group, STX Entertainment, and Marc Shmuger,

EuropaCorp CEO.

8 BoxOffice ® FEBRUARY 2017


The first four films, to be released in

2017, include Luc Besson’s highly anticipated

adaptation of the comic book series Valerian

and the City of a Thousand Planets, an

epic science fiction–action film written and

directed by Besson, starring Dane DeHaan,

Cara Delevingne, and Clive Owen; The Circle,

starring Tom Hanks, Emma Watson, and

John Boyega, and directed by James Ponsoldt;

Lone Scherfig’s Their Finest, a romantic comedy-drama

set in World War II Great Britain

starring Gemma Arterton, Sam Claflin, and

Bill Nighy; and Renegades, a heist adventure

written by Luc Besson and Richard Wenk and

directed by Steven Quale, starring Sullivan

Stapleton and J.K. Simmons.

In making the announcement, Shmuger

said, “STX Entertainment’s Motion Pictures

Group is the perfect home for EuropaCorp’s

films. They bring the highest level of studio

expertise to the marketing and distribution

process, but they also bring an energy and

nimbleness not found in a traditional major

studio. This could not be a better fit for us.”

Alongside its new arrangement with STX,

EuropaCorp will maintain its 50 percent ownership

of RED, the marketing and distribution

joint-venture it formed in 2014.

YMAGIS

GROUP

APPOINTS

RÉMI

GÉRARD

CFO

n Ymagis Group

has appointed

Rémi Gérard as

chief financial

officer following

the departure of Pierre Flamant.

After two full years as Ymagis Group

CFO and nine years at the head of the

finance department at its exhibitor-services

subsidiary dcinex (CinemaNext), Pierre Flamant

has chosen to pursue other professional

opportunities and will leave the group at the

end of February 2017. Rémi Gérard joined

Ymagis Group in January 2017.

“I would like to thank Pierre for his

unfailing professionalism and strong involvement

in the Group’s success over the last

two years, during which he made significant

contributions to its development and restructuring.

I wish him much success in his next

endeavor,” said Jean Mizrahi, founder, chairman

and CEO of Ymagis Group. “I am also

pleased to welcome Rémi to the team. With

his wealth of experience as CFO of several

corporations, we will continue to pursue a

controlled and profitable growth strategy in

this rapidly evolving market.”

A graduate of France’s ESSEC Business

School, Gérard began his career at accounting

firm Arthur Andersen in Paris and

London before assuming various financial

leadership functions.

4DX FINISHES RECORD-

SETTING 2016

n 4DX closed out a successful 2016,

recording more than 15 million moviegoers

and $200 million at the worldwide box

office.

Attendance has increased 20 percent and

gross box office has increased 25 percent in

comparison with the last year’s record, 12

million moviegoers and $160 million gross

box office.

In 2016, CJ 4DPLEX also increased

the number of 4DX seats worldwide from

30,000 to 43,000. The five highest-performing

countries for 4DX, by gross box office,

were Japan, Korea, percent, China, Mexico,

and the UAE. (continued on page 10)

FEBRUARY 2017 BoxOffice ® 9


EXHIBITION BRIEFS

The theater technology company also

broadened its existing market share in the

U.S., Japan, and China. One of the biggest

pieces of news in 2016 for 4DX was the

planned expansion in the U.S. through partnerships

with Regal Cinemas. In early 2016,

Regal Cinemas launched two 4DX theaters

in New York City, bringing the technology

to the Big Apple for the first time, at the

Regal Union Square Stadium 14 and the

Regal E-Walk 13. Regal will bring 4DX to

17 additional screens in the U.S. by the end

of 2018. This will bring the total number of

4DX-enabled Regal screens to 20. The first

two theaters to launch are in Seattle and

Orlando.

4DX also will install two additional

theaters in partnership with Cinépolis

in Southern California as part of a larger

expansion deal with the exhibitor. The two

U.S. locations are Carlsbad and Pico Rivera.

ATOM TICKETS TEAMS UP

WITH IHEARTMEDIA FOR

FREE MOVIE FRIDAYS,

ANNOUNCES CONCESSIONS

PRE-ORDERING OPTION AT

SELECT AMC THEATRES

n Atom Tickets has kicked off a national

campaign with iHeartMedia, dubbed Free

Movie Friday. The campaign offers thousands

of free movie tickets every Friday for

an entire year via iHeartMedia’s radio stations

and digital platforms—more than 500

radio stations in over 100 markets across

the country. The expansive campaign will

feature both on-air and social promotions.

Listeners will have the opportunity to win a

free pair of tickets to a movie of their choice

at any theater that is partnered with Atom

including: Regal Cinemas, AMC Theatres,

Studio Movie Grill, Kerasotes Theatres,

Emagine Entertainment, and ArcLight

Cinemas.

In other company news, Atom Tickets

will now offer users the option to pre-order

food and beverages and skip the concessions

lines at AMC Theatres. The enhanced

service is available at 28 AMC locations

nationwide.

Atom’s AMC concessions service will be

live at AMC Theatres in Atlanta; Boston;

Champaign and Springfield-Decatur, Illinois;

Chicago; Columbus, Ohio; Dallas-Ft.

Worth; Denver; Kansas City; Los Angeles;

New York; Philadelphia; Phoenix; Providence-New

Bedford, Rhode Island; and

Washington, DC.

AMC STUBS CROSSES 5

MILLION MEMBER MARK

n AMC Theatres now has more than five

million AMC Stubs members, adding more

than 2.5 million members primarily because

of the program’s national relaunch in the

summer of 2016. The five million-plus

AMC Stubs members is a company milestone,

and the membership base has more

than doubled this year.

In July, AMC launched AMC Stubs Insider,

a free tier to the program that rewards

AMC guests for coming to the movies.

Insider benefits include a free refill on large

popcorn, up to $2 off tickets every Tuesday,

a free large popcorn birthday gift, and 20

points earned for every dollar spent. Every

AMC Stubs member earns $5 to spend for

5,000 points earned, and receives access to

exclusive offers, screenings, and more.

The program’s top tier, AMC Stubs

Premiere, also saw a refresh that included

the addition of new guest benefits. For a $15

annual membership fee, Premiere members

enjoy express service with specially marked

shorter lines at the box office and concessions

stand, free size upgrades on popcorn

and soda, a free refill on large popcorn,

up to $5 off movie tickets on Tuesdays, a

birthday gift (free large popcorn and soda),

no online ticket fees, and 100 reward points

for every $1 spent.

BOW TIE CINEMAS SIGNS

AFFILIATE AGREEMENT

WITH NATIONAL CINEMEDIA

n Beginning in the first quarter of 2017

Bow Tie’s 43 theaters with 271 screens in

Colorado, Connecticut, Maryland, New

Jersey, New York, and Virginia will become

part of America’s Movie Network. These

additions to NCM’s theater network,

already the largest in the U.S., also give

NCM significantly enhanced coverage in the

Tri-state area (N.Y., N.J. and Conn.), with

37 Bow Tie theaters and 212 screens in the

New York area alone. Bow Tie Cinemas is

the oldest theater circuit in North America

and is currently one of America’s 15 largest

exhibitors, with approximately seven million

attendees projected for 2017.

“We are looking forward to a successful

and productive partnership with NCM,”

said Ben Moss, CEO of Bow Tie Cinemas.

“With our diverse collection of theaters, our

consumer reach and advertising capabilities

will be further enhanced by joining NCM’s

robust network.”

IRISH CINEMA ANALYTICS

START-UP FUNDED BY

ALIBABA

n Showtime Analytics, an Irish start-up

that provides data-analytics products and

services to the global cinema industry,

has secured investment from a subsidiary

of Chinese corporation Alibaba Pictures

Group, Yueke/Finixx. This funding

represents Finixx’s first ever investment

outside China.

Showtime provides products and services to cinema owners and

film distributors, allowing them to collate, analyze, and visualize their

operational data in real time. The joint venture will see Showtime

and Finixx collaborate to develop products specific to the Chinese

cinema industry.

The Ireland-based company was founded in 2014 by Richie Power,

Joe Spurling, and Paul Lynch. Today it employs 30 full-time staff.

Co-founder Joe Spurling has a life-long association with the

cinema industry. His family co-owns and

manages Movies@ cinema group in Ireland.

Alibaba Pictures, valued at $9.6

billion, is a technology-driven, diversified

film group that ranges from production

investment to distribution and ticketing.

Finixx, acquired by Alibaba Pictures Group

in 2015, provides software systems for

more than 2,000 theaters and more than 30

online movie-ticketing platforms.

Earlier this year Alibaba Pictures acquired

a stake in Steven Spielberg’s Amblin Partners. It has previously

invested in major Hollywood blockbusters, including Star Trek

Beyond and Mission Impossible: Rogue Nation.

In announcing the investment, Showtime CEO Richie Power

said: “This investment only marks the beginning of Showtime’s global

journey. Ultimately, our business is about more than just helping

cinemas sell more tickets. Data analysis is in its infancy in the movie

industry, but its potential value is huge.” n

10 BoxOffice ® FEBRUARY 2017


NATO

COMMUNIQUÉ

The global exhibition industry is in the midst of remarkable change. No one needs to be told that the rise of

the Chinese market has ignited both excitement and trepidation throughout the movie business. Though its

rapid growth has slowed in 2016 to a modest 3.7 percent in local currency, down from a staggering 50 percent

in 2015, the past decade has seen its rise from an afterthought to the largest international theatrical market,

second only to the U.S./Canada. Even as its breakneck pace slowed, it surpassed the U.S. in total number

of theater screens, at 40,917 in late December. Estimated admissions also passed the domestic market with

1.37 billion. Those admissions translate to $6.52 billion (compared to the domestic $11.37 billion).

THE WORLD

SHRINKS AS

EXHIBITION

GETS LARGER

Consolidation—an industry

standby—crosses borders

by Patrick Corcoran, Vice President & Chief

Communications Officer, NATO

n So it is no surprise that Hollywood has turned its

sights to China, although the number of foreign titles

allowed in the market is limited to 34 (concerns over

slowing revenues prompted an unofficial lift on that

cap in 2016 to 39) and foreign distributors are limited

to a 25 percent cut of receipts. With foreign market

share at 41.7 percent, that left foreign distributors

to take at most $675 million out of the country.

But China’s growth, and the overall growth of

international box office over the years—$26.7 billion

in 2016—combined with record-breaking domestic

box office of $11.37 billion,

and the continuing weakness

in home-entertainment

revenues, has increased

the importance of the

global theatrical market to

Hollywood’s bottom line.

And, as the global theatrical

market has grown, exhibitors

are increasingly looking

across borders for their own

growth.

Acquisitions and consolidation

have been a fact

of life for the exhibition

industry for decades. The

largest exhibition companies in the U.S. all began life

as much smaller companies. The first incarnation of

Regal began famously as a single theater reopened by

an ambitious local grocery store manager. AMC was

founded in 1920 by the Durwood (née Dubinsky)

family with a single theater in Kansas City. It grew to

10 theaters by 1960 and after recent acquisitions is

now the largest cinema company in the world. Cinemark

began life in 1976 as a chain in three southwest

states and has grown to 495 theaters in 40 states

and 169 theaters in 15 countries in Latin America.

Carmike, the fourth largest circuit in the U.S.

until its purchase by AMC in 2016, began as a large

regional circuit when the Patrick family bought the

265-screen Martin Theatres in 1982. The company’s

name derives from the names of the founder’s sons

Carl and Mike. B&B Theatres grew from the merger

of the Bagby and Bills theater companies (and families)

in 1980 with 17 screens through acquisitions

and organic growth to 409 screens in 50 theaters and

eight states.

Those same trends of circuit growth by organic

builds and acquisitions continue today, and they are

again becoming global after previous waves receded.

AMC had cinemas in the UK, Hoyts began in Australia

and expanded worldwide including the U.S., National

Amusements (another company that started as a small

family business) had extensive international properties.

UCI had branches in Europe and South America.

Most recently, China’s largest theater owner, Dalian

Wanda Group, has expanded globally, purchasing

AMC in 2012 and Australia’s Hoyts in 2015. In

2016, AMC acquired Carmike in the U.S and Odeon

and UCI in the UK, Austria, Germany, Ireland, Italy,

Portugal, and Spain. CJ-CGV has opened cinemas

in the U.S. in addition to its sites in Korea, China,

Indonesia, Turkey, and Vietnam. Cinépolis has also

added a U.S. presence in recent years to its holdings

in Mexico, Brazil, Chile, Colombia, Costa Rica, El

Salvador, Guatemala, Honduras, India, Panama,

Peru, and Spain.

The phenomenon continues here, regionally, in

the States. Marcus in November acquired Wehrenberg’s

197 screens, growing to 885 screens at 68 sites

in eight states. Both circuits, it should be noted, be-

RECENT ACQUISITIONS

Dec. 20, 2016 U.S. Department of Justice approves AMC’s acquisition of Carmike

Nov. 21, 2016 Marcus acquires Wehrenberg

Nov. 30, 2016 AMC completes acquisition of Odeon & UCI Cinemas

Sept. 2016 China’s Perfect World acquires Antaeus Cinema Line

Aug. 2016 Highline Investments LLC buys Muller Family Theatres

June 2016 India’s PVR Cinemas acquires DT Cinemas

April 4, 2016 CJ CGV acquires Turkey’s Mars

12 BoxOffice ® FEBRUARY 2017


NATO COMMUNIQUÉ

gan as family-run companies, with Wehrenberg, until

its purchase, the oldest family-run cinema company

in the United States.

NATO’s current structure, with a constant

dialogue between regional affiliates and the national

association, gives the industry the flexibility to shift

focus on regulations and legislation from the states

to the federal government and back again. In the

same way, the international nature of the modern

cinema industry requires a flexibility to shift focus

as laws and regulations pop up across the globe to

exhibition’s benefit and detriment. Sugary-beverage

taxes that failed in the U.S. migrated to Mexico; their

enactment there revitalized such measures’ proponents

in the U.S., where local measures have since

been enacted at the municipal level.

NATO is exploring, as John Fithian noted in his

Boxoffice column in December, with our international

members and sister trade associations, ways

to structure new and more effective international

relationships to meet the global realities that face our

industry. At the same time, the association is looking

at ways to make sure our domestic lobbying efforts

are more effective and better supported across the

various states and regional affiliates.

From the local to the regional to the national to

the international, the growth and consolidation of

the industry across borders will continue, as the concerns

and interests of an increasingly similar industry

converge. Technology standards, film product, release

windows, movie theft, government regulation, and

audience tastes grow more alike every day, and the

cinema industry continues to evolve to meet those

changes. As domestic members expand internationally

and international members expand into the

domestic market, NATO will evolve with it. n

MEMBERSHIP

Companies Screens Sites

Domestic 597 33,026 3,325

U.S. Territory 3 330 42

Canadian 20 2,257 243

International 49 28,888 3,487

TOTAL 669 64,501 7,097

INTERNATIONAL MEMBERSHIP*

DATE COMPANIES TOTAL SCREENS

April 2010 26 11,634

Sept 2010 27 11,981

April 2011 32 11,761

Sept 2011 36 12,639

April 2012 33 13,089

Sept 2012 34 14,616

April 2013 36 18,243

Sept 2013 38 19,095

April 2014 37 20,374

Sept 2014 37 21,391

April 2015 39 22,507

Sept 2015 41 22,713

April 2016 45 24,384

Sept 2016 48 27,344

*Outside U.S. and Canada / As of 28 December 2016

14 BoxOffice ® FEBRUARY 2017


GOVERNMENT

RELATIONS

Donald J. Trump

YOU'RE HIRED

Confirming the

President's Cabinet

Andy Puzder

n A new Congress has been sworn

in, a new president has taken the oath

of office, and all eyes in Washington

are turning to the confirmation

process for Donald J. Trump’s cabinet

nominees. Senate committees are

in the midst of holding hearings to

fulfill their constitutional duty to

advise and consent, but the rules are

different this time around. Because

of a procedural change instituted in

2013 by then Senate Majority Leader

Harry Reid, cabinet nominees can

be confirmed by a simple majority

vote of 51 senators. Senators cannot

threaten a filibuster on the nominees,

thus gumming up the process and

requiring at least 60 votes in order to

proceed with a nomination vote. With Republicans

holding a 52-seat majority, unless some GOP senators

defect, most—if not all—of Trump’s nominees will be

confirmed to their positions.

This article explores some

of the cabinet nominees and

the impact their tenure may

have on exhibition.

Andy Puzder,

by Esther Baruh, Director

Department of Labor

Government Relations, NATO

Andy Puzder, the CEO of

CKE Restaurants, is Trump’s

choice to lead the Labor Department.

Puzder is one of Trump’s

most polarizing nominees: while his

supporters claim that his leadership

of a major restaurant company is

appropriate experience for leading the

department, his detractors worry that

Puzder won’t act to protect workers

and will roll back reforms instituted

by the Obama administration.

Restaurant industry groups

welcomed Puzder’s nomination. The

International Franchise Association

(Puzder is a board member) hailed

him as “an exceptional choice,” and

the National Restaurant Association

said in a statement that he would

“help foster an environment for

job creation.” Worker groups, by

contrast, blasted his record. “The

WORST fast-food CEO!” Fight

for $15 wrote in its petition asking the Senate to

vote against his confirmation. The Service Employees

International Union—the union representing,

among other employment sectors, food-service

workers—called Puzder “dead wrong for America’s

working families.”

Puzder’s restaurant experience could prove a boon

to exhibitors. As a restaurateur, he is deeply familiar

with the labor issues facing business establishments

employing a primarily part-time workforce. One area

in which Puzder could have immediate impact is

eliminating the Obama administration’s rule raising

the salary threshold for overtime-exempt employees.

Puzder is a vocal opponent of the rule. When it was

released in May 2016, Puzder predicted in an op-ed

that the rule would drive many employers to reclassify

their salaried employees as hourly, thereby negatively

impacting employee morale. The overtime rule is currently

in litigation: business groups and a number of

state attorneys general sued the Obama administration

for overreach, and in November a district court judge

issued a temporary injunction that prevented the rule

from going into effect on December 1. The Obama

administration appealed that decision. Presumably,

if he is confirmed as labor secretary, Puzder will

withdraw the U.S. government as a defendant from

the case. Puzder is also likely to support congressional

efforts to overturn the rule.

Puzder is unequivocal about repealing the Affordable

Care Act (ACA). In an industry speech delivered

after the presidential election, Puzder said higher

insurance premiums and increased labor costs have

left people with less discretionary income, causing a

“government-mandated restaurant recession.” Aside

from opposing the labor elements of the ACA, Puzder

has also argued against the government’s interpretation

of onerous menu labeling regulations. In 2012, Puzder

testified before the House Energy and Commerce

Subcommittee on Oversight and Investigations on

overregulation. In his testimony, Puzder suggested that

legislators and retailers compromise by allowing restaurants

and similar establishments to post calorie counts

online or adjacent to menu boards, which would give

customers the information they seek and reduce the

burden on covered entities.

On minimum wage, Puzder has been less clear

in his position. Puzder has warned that increasing

minimum wage to $15 an hour would shut entry-level

workers out of the workforce, but he has also acknowledged

estimates that a minimum wage increase

to about $9 would not have as drastic an impact on

jobs. Even if he does eventually declare a position

openly supporting a wage increase, Puzder is not

likely to find many Republicans in Congress willing

to take on this issue.

Jeff Sessions, Department of Justice

Trump has nominated Senator Jeff Sessions (R-AL)

to be attorney general. In this capacity, Sessions will

impact many operational issues facing exhibitors,

including compliance with the Americans with Disabilities

Act and antitrust matters.

Sessions does not have a strong track record on

disabilities issues, although disabilities groups have

16 BoxOffice ® FEBRUARY 2017


GOVERNMENT RELATIONS

Jeff Sessions

Tom Price

Steven Mnuchin

blasted him for his record on education

inclusion. A coalition of 145 civil rights

organizations, including the National

Council on Independent Living and

the Disability Rights Education and

Defense Fund, signed an open letter to

the Senate protesting Senator Sessions’s

nomination. In the letter, they included

Sessions’s opposition to the ratification of

the Convention on the Rights of Persons

with Disabilities as a reason to disqualify

him as Attorney General. Democrats

have vowed to focus on Sessions’s record

on civil rights during his confirmation

hearings.

On antitrust issues, his record is

also less clear, although his detractors

worry he would be lax on antitrust

enforcement. In 1998, Sessions wrote to

Attorney General Janet Reno expressing

concerns that U.S. antitrust officials were

encouraging foreign countries to take

legal action against American companies

potentially in violation of antitrust laws.

Tom Price, Department of Health

and Human Services

Rep. Tom Price (R-GA), nominated as

Secretary of Health and Human Services,

is a former orthopedic surgeon and served

as chairman of the House Budget Committee

in the 114th Congress. Price can

be expected to be an energetic proponent

of health care reforms supported by exhibitors.

His nomination is not expected

to face significant backlash.

Price opposed the ACA when it

was enacted and has introduced repeal-and-replace

legislation in the past

few Congresses. Price’s health care bill

does not include an employer mandate

or a provision requiring calorie counts

to be displayed on menu boards, the two

biggest ACA issues impacting exhibitors.

While in Congress, Price supported

legislation reforming aspects of the law.

He voted in favor of legislation reducing

the burden of menu labeling and in

favor of legislation redefining full-time

employment under the ACA as 40 hours

per week. Price was also a co-sponsor of

legislation defining seasonal employees

as employees who work for six months

or less.

Price does not have a robust record on

obesity or soda taxes; he has been vocally

opposed, however, to raising taxes. As is

typical for many in leadership positions

in Congress, Price has received campaign

contributions from competing interests:

both Coca-Cola and the American Medical

Association have supported him.

Steven Mnuchin, Department of

Treasury

Steven Mnuchin, a former investment

banker and hedge fund manager, is

Trump’s nominee to lead the Department

of Treasury. Aside from Andy Puzder,

Mnuchin has the résumé most closely

linked to exhibition: in 2006, Mnuchin

formed a production company called Dune

Entertainment, which in 2013 merged

with Brett Ratner and James Packer’s production

company to become RatPac-Dune

Entertainment. Mnuchin has partnered

with 20th Century Fox and Warner Bros.

to finance nearly 200 films, including

hits like American Sniper, Avatar, Life of

Pi, and The Lego Movie. His Hollywood

connections may come under scrutiny in

his confirmation hearing. Lawmakers may

focus on Mnuchin’s relationship with the

studio Relativity Media. Mnuchin was a

member of Relativity’s board and also ran

the bank that lent tens of millions of dollars

to Relativity. Mnuchin resigned from

the Relativity board on May 29, 2015;

Relativity declared bankruptcy a couple of

months later.

Mnuchin has listed reform of the

Dodd-Frank Wall Street Reform and

Consumer Protection Act as one of his

major priorities, particularly rolling back

regulations that hamper bank lending

to businesses. Loans are the “engine of

growth to small- and medium-sized businesses,”

Mnuchin said in a CNBC interview.

He has not commented on whether

he would support congressional efforts to

do away with the Durbin Amendment,

which capped debit card swipe fees at 21

cents plus five basis points per transaction.

He has also vowed to lower the

corporate tax rate and to enact an income

tax cut for the middle class.

As treasury secretary, Mnuchin will

have oversight of foreign acquisitions

of American companies. Within the

Treasury Department is the Committee

on Foreign Investment in the United

States, a multi-agency body that investigates

acquisitions of U.S. companies

by foreign entities; much of CFIUS’s

activities in recent years have been devoted

to examining acquisitions by Chinese

companies. Mnuchin has not commented

on Trump’s China stance, except to say

that he wouldn’t necessarily deem China a

currency manipulator. n

18 BoxOffice ® FEBRUARY 2017


W TIE CINEMAS • CARMIKE CINEMAS • CELEBRATION! CINEMA • CINEMA ENTERTAINMENT

EMARK USA • CINÉMAS GUZZO • CINEPLEX ENTERTAINMENT • CINÉPOLIS LUXURY THEATRE

LASSIC CINEMAS • COBB THEATRES III • COMING ATTRACTIONS THEATRES • FRANK TH

RES • GALAXY THEATRES • GEORGIA THEATRE COMPANY • GOODRICH QUALITY THEATER

ARKINS THEATRES • IPIC ENTERTAINMENT • LANDMARK CINEMAS OF CANADA • LANDMAR

EATRES • LARRY H. MILLER THEATRES • MALCO THEATRES • MANN THEATRES • MARCUS TH

RES • MARQUEE CINEMAS • MITCHELL THEATRES • MJR THEATRES • MULLER FAMILY THEATRE

ATIONAL AMUSEMENTS • NCG (NEIGHBORHOOD CINEMAS GROUP) • PACIFIC THEATRES/A

IGHT CINEMAS • PARAGON THEATERS • PHOENIX THEATRES ENTERTAINMENT • PREMIER

EMA • R.L. FRIDLEY THEATRES • READING CINEMAS USA • REGAL ENTERTAINMENT GROUP

GENCY THEATRES • SANTIKOS THEATRES • SOUTHEAST CINEMA ENTERTAINMENT • SOUT

N THEATRES • STUDIO MOVIE GRILL • UNITED ENTERTAINMENT • WEHRENBERG THEATRES

STATES THEATRES • YOUR NEIGHBORHOOD THEATRE • ZYACORP ENTERTAINMENT • ALAM

AFTHOUSE CINEMAS • ALLEN THEATRES • AMC ENTERTAINMENT • B&B THEATRES • BOW T

EMAS • CARMIKE CINEMAS • CELEBRATION! CINEMA • CINEMA ENTERTAINMENT • CINEMAR

A • CINÉMAS GUZZO • CINEPLEX ENTERTAINMENT • CINÉPOLIS LUXURY THEATRES • CLASS

EMAS • COBB THEATRES III • COMING ATTRACTIONS THEATRES • FRANK THEATRES • GA

Y THEATRES • GEORGIA THEATRE COMPANY • GOODRICH QUALITY THEATERS • HARKIN

EATRES • IPIC ENTERTAINMENT • LANDMARK CINEMAS OF CANADA • LANDMARK THEATRE

THE GIANTS

OF EXHIBITION

ARRY H. MILLER THEATRES • MALCO THEATRES • MANN THEATRES • MARCUS THEATRE

ARQUEE CINEMAS • MITCHELL THEATRES • MJR THEATRES • MULLER FAMILY THEATRES

TIONAL AMUSEMENTS • NCG (NEIGHBORHOOD CINEMAS GROUP) • PACIFIC THEATRES/A

IGHT CINEMAS • PARAGON THEATERS • PHOENIX THEATRES ENTERTAINMENT • PREMIER

EMA • R.L. FRIDLEY THEATRES • READING CINEMAS USA • REGAL ENTERTAINMENT GROUP

GENCY THEATRES • SANTIKOS THEATRES • SOUTHEAST CINEMA ENTERTAINMENT • SOUT

N THEATRES • STUDIO MOVIE GRILL • UNITED ENTERTAINMENT • WEHRENBERG THEATRES

STATES THEATRES • YOUR NEIGHBORHOOD THEATRE • ZYACORP ENTERTAINMENT • AL

DRAFTHOUSE CINEMAS • ALLEN THEATRES • AMC ENTERTAINMENT • B&B THEATRES • BO

CINEMAS • CARMIKE CINEMAS • CELEBRATION! CINEMA • CINEMA ENTERTAINMENT • CI

ARK USA • CINÉMAS GUZZO • CINEPLEX ENTERTAINMENT • CINÉPOLIS LUXURY THEATRE

LASSIC CINEMAS • COBB THEATRES III • COMING ATTRACTIONS THEATRES • FRANK TH

RES • GALAXY THEATRES • GEORGIA THEATRE COMPANY • GOODRICH QUALITY THEATER

ARKINS THEATRES • IPIC ENTERTAINMENT • LANDMARK CINEMAS OF CANADA • LANDMAR

EATRES • LARRY H. MILLER THEATRES • MALCO THEATRES • MANN THEATRES • MARCU

EATRES • MARQUEE CINEMAS • MITCHELL THEATRES • MJR THEATRES • MULLER FAMIL

EATRES • NATIONAL AMUSEMENTS S I G N A• TNCG U R(NEIGHBORHOOD E S P O N S CINEMAS O R S GROUP) • PACIFIC TH

RES/ARCLIGHT CINEMAS • PARAGON THEATERS • PHOENIX THEATRES ENTERTAINMENT

EMIERE CINEMA • R.L. FRIDLEY THEATRES • READING CINEMAS USA • REGAL ENTERTAINMEN

OUP • REGENCY THEATRES • SANTIKOS THEATRES • SOUTHEAST CINEMA ENTERTAINMENT

UTHERN THEATRES • STUDIO MOVIE GRILL • UNITED ENTERTAINMENT • WEHRENBERG TH


THE GIANTS

OF EXHIBITION

n Adam Aron might not have arrived at

AMC with previous experience in the exhibition

industry, but his leadership across several

consumer and hospitality-related businesses

signaled the coming of a compelling

new era for AMC Theatres. After all, Aron’s

CV includes tenures as CEO of companies

such as Starwood, the Philadelphia 76ers,

Norwegian Cruise Line, and Vail Resorts.

His tenure as CEO of AMC Theatres began

in January 2016, and it would have been

natural to assume there would be a period

of getting acquainted with the operations of

what was then the second-largest exhibition

circuit in North America. A lengthy transition

period, however, was clearly never in

the plans.

After a year in charge, Aron helms what has

now become the biggest exhibition circuit

in North America, Europe, and around the

world, with the support and ambitious backing

of its parent company, Wanda Group.

While the Carmike acquisition lifted AMC to

over 8,200 North American screens—and in

turn to the number one spot in our current

Giants of Exhibition ranking—its earlier

acquisition of Odeon & UCI turned the

Kansas-based company into a major global

player with over 10,000 screens across two

continents. That ambition continued into

2017 with AMC’s acquisition of Europe’s

Nordic Cinema Group in January, launching

the company to 1,000 locations and 11,000

screens across 15 countries. Additionally,

Aron led AMC to invest in an overhaul of its

digital strategy—relaunching its loyalty program

and redesigning the AMC web experience

to better serve consumers. Boxoffice

caught up with Aron to talk about his early

impressions of the industry and his perspective

on the years ahead.

A NEW

LEADER

Adam Aron's first

year in charge of AMC

brings changes to the

exhibition industry

by Daniel Loria

What are some of the strengths

of the exhibition industry and

what are the biggest challenges

coming up?

There are always going to be challenges,

whether it’s exhibition or any

other industry. Since its inception, this

industry has been told that the next big

thing would be the end of movie theaters.

From the invention of television,

to VCRs, to the expansion of cable, to

streaming, to VR, there are always going to be challenges to overcome and entertainment

options with which we’ll compete. But the industry is coming off its second

straight record year at the U.S. box office, and the fourth in five years, and with the

titles coming in 2017, we’re all looking at another really solid year in moviegoing.

There were several news articles about 2016 being a record year in the U.S. but it

didn’t really count because attendance was relatively flat. But we measure revenue.

And it’s not an accident that the revenue continues to grow year after year. We’ve

invested hundreds of millions of dollars in U.S. moviegoing, and we have plans to

invest significantly more. We’re making those investments because those enhancements

are bringing people out to the movie theater. People want to come relax in a

recliner and have a beer or glass of wine, they want a multitude of options to choose

from, and they want an incredible, premium experience. And they’re willing to pay a

little more for it. One of the industry’s biggest strengths is that it didn’t stay stagnant.

The multitude of innovations and investment is serving the industry well, and will

continue to serve it well, both in the U.S. and around the world.

22 BoxOffice ® FEBRUARY 2017


THE GIANTS

OF EXHIBITION

After a very eventful first year on

the job, what have been some of the

lessons you’ve picked up about the

exhibition industry?

When I came to AMC, my career had

previously included having sold millions

of tickets to consumers in other industries,

including airline tickets, ski lift tickets, and

sporting-event tickets. This past year, I learned

that consumer motivations across industries

have many similarities. To that end, l immediately

began to work with our marketing

department to redesign and deliver a more

robust loyalty-rewards program, a more powerful,

engaging website, and more user-friendly

mobile smartphone apps. In the last six

months AMC has rolled out all three to real

success. We’ve crossed the five million AMC

Stubs members mark, more than doubling the

membership. The early feedback on our new

website and mobile app shows a huge surge in

digital ticketing.

What’s your take on the role that

theatrical windows play in our

industry?

My take is that it’s a very important topic

that is generating discussions among all

parties involved, and it’s better for everyone

that those discussions take place among the

stakeholders, and not through the media.

AMC is a very different company

today than the one you joined last

year. How has the company’s new

size and scope impacted the way you

plan to approach this year?

It really doesn’t change how we’re approaching

the year. Of course there’s an enormous

amount of work to be done. We spent 2016 working

to get these deals completed, and now we’re working on

smoothly integrating everything. But our main focus remains

creating a spectacular moviegoing experience for our guests. The

biggest difference is that this year there are more guests than ever at

AMCs in the United States, and now Odeon & UCI Cinemas in Europe.

But we’re still investing heavily in the moviegoing experience,

and we’ll continue to look for opportunities to expand our footprint

throughout the world.

The addition of locations, both domestically and overseas

through the Odeon & UCI deal, poses many challenges.

What can you share with us about how the new locations

will incorporate AMC elements both at home and abroad?

Are there any concepts or amenities you plan to extend to

the new locations?

We will be rolling out AMC’s guest-favorite amenities, including

plush recliner seating, Coca-Cola Freestyle machines with 100 flavor

choices, and more premium large-format screens like IMAX and

Dolby Cinema in many of our locations, both in the U.S. and in

Europe. We’ve had great success in the U.S. with these amenities, and

We will be

rolling out AMC’s

guest-favorite amenities,

including plush

recliner seating, Coca-Cola

Freestyle machines with 100

flavor choices, and more premium

large-format screens

like IMAX and Dolby Cinema

in many of our locations,

both in the U.S. and

in Europe.

while they are becoming more prevalent in

the U.S., they’re still relatively new in Europe.

AMC has stepped up its digital

presence in the midst of these

acquisitions; you’ve recently

relaunched your website and it seems

like your digital strategy is a focus for

the future. What role does a digital

presence play in the exhibition industry

today, and why is it so important to

get it right?

Consumers are increasingly looking for

ways to purchase in the moment, and to

purchase in a way that’s convenient for them.

AMC has invested significantly in our mobile

and online ticketing, because that’s where

our guests are going to find show times and

information about movies. We should, as an

industry, be making it as convenient as possible

to purchase tickets, along with snacks and

drinks. If a guest is on their phone purchasing

a ticket for a 7:00 p.m. show and with a few

more finger taps can add popcorn, snacks,

and soda to that purchase, which will be ready

upon arrival, that’s making their life easier and

making it more likely that they’ll come back.

Having been involved with the digital

transformation across different

industries, what lessons do you

think exhibition should keep in mind

as more circuits embrace these

innovations?

I can tell you that at AMC we’ll continue

to focus on what’s best for our guests, our

associates, and our shareholders. Ultimately,

that’s creating the best possible moviegoing

experience from beginning to end. And with the

advancements in digital technologies, the beginning

of that experience is well before a guest steps foot in the

building. We want AMCtheatres.com to be a one-stop shop

for guests who are interested in movies, and a place that can

take them from their initial curiosity to their ticketing purchase. We

invested heavily in our website, as well as our mobile app, both of

which launched in late 2016, and we’re already seeing tremendous

benefit.

When we visit a movie theater 10 to 15 years from now,

what do you think will be the biggest differences we’ll see?

Exhibition is in the midst of an amazing reinvention. The industry

has experienced more advances in the last five years than it saw in

the previous two decades: the explosion of recliner seating, reserved

seating, advances in sight and sound technology, more food and

drink options, better rewards programs, and the expanding availability

of movie product. What I think we’ll see over the next few years

is a continued focus on innovation that will make theaters extraordinarily

more comfortable and even luxurious. This in turn will be the

guarantee that guests will continue to see movies on the big screens

offered at theaters. n

FEBRUARY 2017 BoxOffice ® 23


THE GIANTS

OF EXHIBITION

AMC THEATRES OFFICIALLY BECAME THE LARGEST EXHIBITION CIRCUIT IN IN THE NORTH

AMERICAN, EUROPEAN, AND GLOBAL MARKETS UPON CLOSING ITS ACQUISITION OF CARMIKE

CINEMAS FOR APPROXIMATELY $1.1 BILLION IN THE DAYS LEADING UP TO CHRISTMAS. U.S.

BOX OFFICE REVENUES FOR AMC REACHED $1.9 BILLION IN 2015, WHILE CARMIKE FINISHED

THE YEAR WITH $490 MILLION.

n AMC’s presence now expands to around 1,000

locations and over 11,000 screens worldwide.

The company’s screen count in the United

States alone includes 661 theaters with

more than 8,200 screens. As was the

case after its recent acquisitions of

Nordic Cinema Group and Odeon

& UCI, AMC will continue to

be headquartered in Leawood,

Kansas, with Adam Aron remaining

as CEO and president, and

Craig Ramsey as executive vice

president and CFO. This was the

second major acquisition of 2016 for

AMC Theatres, coming only a month

after the closing of its acquisition of

European exhibition circuit Odeon &

UCI. AMC continued the momentum into

2017 with the acquisition of Europe’s Nordic

Cinema Group in January. The circuit has seen a

large influx of investment to its brand

after being acquired by China’s Wanda

Group in 2012 for a sum of $2.6 billion.

“AMC now has a larger audience

and a bigger stage to introduce our

industry-leading innovations including

plush power-recliner seats, enhanced

food and beverage choices, and premium

large-format screens,” said AMC CEO

and president Adam Aron through a

company press release. “We also have

expanded AMC’s footprint across greater

geography and more diverse demographics,

serving most of the largest cities in

the U.S. and Europe, along with hundreds of hometowns, where

guests can have an amazing AMC experience. In the United States,

AMC now will enjoy increased benefit from movies that play better

on Main Street and movies that play better in major metros, and, of

course, from movies that play well in both.”

“We are fortunate to be adding so many talented and hard-working

associates to the AMC team, which speaks well for the leadership

of Carmike over the past several years,” added Aron. “Today we take

a moment to celebrate becoming the biggest exhibitor in the U.S., in

Europe, and throughout the world, and then we roll up our sleeves

and get to work to ensure that we are not only the biggest exhibitor

but also the best in each of our markets.”

The closing came a day after the Department of Justice announced

a proposed settlement that would require AMC to divest

from theaters in 15 local markets, sell off the majority of its holdings

and relinquish governance rights in pre-show advertising company

National CineMedia (NCM), and transfer 24 locations with a total

of 384 screens to rival Screenvision.

The Department of Justice’s proposed settlement has roots that

A

GLOBAL

GIANT

Three high-profile

acquisitions turn AMC into

the world's largest exhibitor

by Daniel Loria

date back to the failed NCM-Screenvision merger of

2014, a deal that was ultimately blocked by the

government agency in 2015. Concerns about

the ripple effects of AMC’s Carmike acquisition

to the pre-show advertising industry

pervade an official statement provided

by Acting Assistant Attorney General

Renata Hesse of the Department of

Justice’s Antitrust Division.

“Moviegoers across the United

States have benefitted from head-tohead

competition between AMC and

Carmike that has kept ticket prices

in check and delivered a higher-quality

movie experience,” stated Hesse.

“[This] settlement will ensure that movie

theater competition is preserved in 15 local

markets where AMC and Carmike currently

compete. In addition, by requiring AMC to

reduce its equity stake in NCM, terminate its participation

in NCM’s business, and transfer

screens to Screenvision, the settlement will

promote continued vigorous competition

between the two leading cinema advertising

networks—competition that the

division fought to protect when it blocked

the NCM-Screenvision merger.”

Andy England, CEO of National

CineMedia, commented on the ruling:

“It is business as usual here at NCM. We

continue to operate under our governing

documents with AMC, and we look forward

to benefiting from the future growth

of the larger AMC/Carmike entity under

our long-term exhibitor services agreement as new theaters are built

or acquired. As AMC CEO Adam Aron mentioned earlier today on

the AMC investor call, AMC will be working closely with NCM to

astutely manage this transition over the coming months in a way that

preserves value for both NCM and AMC. To that end, in anticipation

of an agreement between AMC and the DOJ, NCM’s board of directors

had previously established a committee of independent directors

tasked with evaluating any proposals made by AMC to ensure that all

agreements reached are in the best interest of NCM shareholders.”

The ruling will see Screenvision’s footprint expand to 14,795

screens nationwide. “We thank our friends at Carmike Cinemas for

their valued contributions to both our company’s growth over the

past many years as well as to our board,” said John Partilla, CEO of

Screenvision Media. “We look forward to continuing that relationship

now with AMC through its Carmike acquisition and are excited

about the numerous prospects that lie ahead. With the addition

of these new screens in key U.S. advertising markets, Screenvision

Media will offer its innovative pre-show and Connected Cinema

experience to even more moviegoers.” n

24 BoxOffice ® FEBRUARY 2017


THE GIANTS

OF EXHIBITION

n Cinema is going through a period of transformation,

with a plethora of technologies, comfort

measures, food and drink options, and innovative

service provisions appearing in the auditorium that

offer an enhanced customer experience. It has already

been a busy decade for the exhibition sector, and the

next decade promises to carry on in the same vein. Exhibitors

are getting to grips with the realities of being

part of a digital media landscape, needing to innovate

and invest in innovation in order to keep the cinema at

the forefront of the

TRANSFORMING

A MOVIEGOING

EXPERIENCE

Cinema exhibition is gearing up

for customer experience and

globalization

by David Hancock

leisure industry.

Technology is

not the only way

to encourage guests

to spend more and

have a better experience—it

is a tool

that taps into the

interests of younger

audiences, while

service levels and

boutique cinema are

of more interest to the older age groups. The buzzword

of 2017, however, may be consolidation. Cinema exhibition

has long been a highly fragmented, mainly national

business, and there are few groups with a strong

international presence. That is changing, with Wanda

in particular building a global cinema exhibition

infrastructure that accounts for over 8 percent of the

world’s screens, twice the number of its nearest rival.

AMC is making waves the world over, acting as the

international cinema vehicle of Chinese group Dalian

Wanda, and has acquired itself into a strong position

in several countries.

The 8 percent is a relatively small amount compared

to some other concentrated industries (think semiconductors,

for example) but historically high for cinema.

When consolidation happens, often triggered by one

group taking a dominant position and others reacting to

it, it tends to happen quickly. The top 10 global exhibitors

account for 28.1 percent of all the world’s screens at

end 2016 (compared to 25.1 percent in 2015), and we

can expect this figure to rise significantly in the future.

At a national level, too, the exhibition world is gradually

becoming more concentrated, although sometimes so

gradually that it is hard to notice. The market share

of the leading five exhibitors (by screens) is a measure

of market concentration. In the U.S., the share has

increased from 44.7 percent in 2003 to 52.0 percent in

2015, a significant but steady increase. The same measure

in the UK grew from 64.3 percent to 74.6 percent,

while in Italy it went from 12.5 percent in 2005 to 25.5

percent in 2015, which also underlines the very distinct

nature of each cinema market.

There are several groups that could challenge Wanda,

but its closest rivals are Cinemark (U.S.), Cinépolis

(Mexico), CJ CGV (Korea), CinemaCity/Cineworld

(Israel/UK) and Vue Entertainment (UK). The U.S.

circuit Regal is the second biggest circuit globally

but focuses on North America rather than a global

presence. The Korean CJ CGV (2,500 screens) is interesting

as it has already stated it is aiming for 10,000

screens by 2020, and it is also pushing the technology

side of the business (with multiscreen format Screen

X, 4D provider 4DX, and its experimentation with

virtual reality).

A world in which three exhibitors control half the

world’s screens (which could feasibly happen) would

be a very different world for distributors, manufacturers,

and fellow exhibitors, and it is one that could well

be under way in 2017. n

David Hancock is the research director, film

and cinema, at IHSMarkit and is also president

of the European Digital Cinema Forum.

USA: LEADING EXHIBITORS BY 3D SCREENS

USA: LEADING EXHIBITORS BY PLF SCREENS

Q3 2016

RANK EXHIBITORS COUNTRY 3D SCREENS

1 Regal Entertainment Group USA 3123

2 AMC USA 2663

3 Cinemark Cinemas USA 2455

4 Carmike Cinemas Canada 1049

5 Cineplex Entertainment USA 849

6 Marcus Theatres Canada 192

7 Landmark Cinemas USA 164

8 National Amusements USA 149

9 B&B Theatres USA 143

10 Pacific USA 138

source: IHS Markit

Q2 2016

RANK EXHIBITORS COUNTRY PLF SCREENS

1 Cinemark Cinemas USA 138

2 Regal Cinemas USA 91

3 Cineplex Entertainment Canada 83

4 Marcus Theatres USA 44

5 AMC USA 34

6 Carmike Cinemas USA 34

7 Santikos USA 22

8 Cinetopia Canada 9

9 B&B Theatres USA 8

10 Galaxy Theatres USA 8

source: IHS Markit

26 BoxOffice ® FEBRUARY 2017


TO THE 50 GIANTS OF EXHIBITION FROM EVERYONE AT

WE SALUTE OUR

EXHIBITION

PARTNERS WHO

MADE IT ON

THE LIST

And we are looking forward to doing even more amazing work with all of you in 2017.

www.webedia.us

www.peachdigital.com


S I G N A T U R E S P O N S O R

Stacie Tursi

SVP of Affiliate Partnerships

National CineMedia (NCM)

n At NCM, we have many giants of exhibition in our network.

Whether they are giants in size, innovation, hospitality,

or just in their local community, they all benefit from being a

part of something even bigger than themselves as an affiliate of

the largest cinema advertising network in the U.S.

Advertisers looking to reach today’s movie audiences want

both national scale and local targetability, and NCM works

with circuit partners of all sizes to bring the best of entertainment

content and national, regional, and local brands into

your theaters.

To better serve the needs of all of our exhibitors, we’ve

created a new affiliate partnerships team dedicated to working

closely with you to make sure that you fully benefit from

NCM’s many cinema advertising innovations, including our

state-of-the-art FirstLook pre-show; Lobby Entertainment

Network (LEN); pioneering research; partnerships with Audience

Entertainment and TimePlay; NCM’s Cinema Audience

Targeting Optimizer (CATO); NCM’s new Data Management

Platform (DMP), which brings cinema into the world of big

data; and NCM’s Cinema Accelerator, which reengages moviegoers

on mobile phones, social media, and online. We’ve even

become the first cinema network to enter the national spot

TV marketplace to get a piece of those previously untapped

advertising budgets for cinema as well. And when we succeed,

you succeed.

Although I may be a new face in the exhibition industry,

I’ve spent years at NCM touting the power of cinema to advertisers,

and I know that where there’s a silver screen, there’s a

golden opportunity to add more revenue to your bottom line.

Joining the NCM network has never been easier, and I very

much look forward to getting to know you all and finding new

ways to help you get the most out of cinema advertising for

your patrons and your theaters.

1

SCREENS

SITES

8,218 659

AMC THEATRES

Leawood, Kan.

n Few people could have predicted the sheer scope of

AMC’s blockbuster year. The Kansas-based circuit started

2016 with a new chief executive officer at the helm, Adam

Aron, making his first foray into the exhibition business.

After closing two big acquisitions in 2016—Europe’s Odeon

& UCI circuit and North America’s Carmike Cinemas—AMC

entered 2017 as the world’s exhibition leader. The new

year brought on yet another high-profile acquisition with

the addition of Europe’s Nordic Cinema Group, vaulting

the circuit to 1,000 locations with 11,000 screens across

the United States and Europe. Without taking into account

any of the acquisitions, AMC retained a strong standing in

the United States with its existing circuit: 388 theaters and

5,295 screens—amounting to nearly 200 million guests and

operating 9 of the top-grossing 15 theaters in the country.

AMC’s investment hasn’t only come through adding

screens; the circuit has also embarked on a thorough

campaign to update its fleet of existing theaters. AMC

has added recliner seating to over 1,500 screens and

plans to deploy the concept to 3,350 screens by 2018. It

is the largest IMAX operator in the United States, with 154

locations, with an additional 25 on order to be installed in

the next three years. Its partnership with Dolby has also

proved fruitful, with 27 Dolby Cinema locations in the United

States and an accelerated growth plan that will see up to

160 auditoriums open by the end of 2018. The year also saw

a reinvigorated focus on AMC Stubs, the company’s loyalty

program, which doubled its membership by the end of the

year and now boasts more than five million members.

2

SCREENS

SITES

7,310 565

REGAL ENTERTAINMENT GROUP

Knoxville, Tenn.

n Industry consolidation saw Regal slide down to the number

two spot in this year’s ranking, but it shouldn’t be mistaken in

any way for shrinking ambition: Regal finished the year with

7,310 screens across 565 theaters, welcoming more than 216

million attendees. The circuit was responsible for around 20

percent of the North American box office, coming in large

part from a presence in 46 of the country’s top 50 markets.

Regal has invested $918 million on enhancements to

its circuit since 2012. The chain continues to bet big on

the multiplex concept, averaging 12.9 screens per location

nationwide and offering premium amenities in nearly 60

percent of its circuit. Premium large format has been one

of those standout premiums for Regal; it operates 89 IMAX

screens and 93 of its RPX auditoriums. Regal is concurrently

deploying its own VIP concept, including a bar and lounge

area with reserved seating and auditorium service ahead of

show times. Additionally, the circuit currently offers luxury

28 BoxOffice ® FEBRUARY 2017


THE GIANTS

OF EXHIBITION

recliner seating in 1,210 auditoriums and plans to expand the

concept to approximately 30 percent of its circuit by the

end of 2017. The innovations also extend to the lobby, as

Regal’s concessions stands have seen significant changes in

recent years. Regal has adopted enhanced food or alcohol

sales programs in more than 250 of its locations. The food

and beverage strategy proved its value by the end of the

third quarter of 2016: it generated more than $35 million in

revenue over the year.

3

SCREENS

SITES

4,542 339

CINEMARK

Plano, Tex.

n Cinemark once again ranks third on our annual list of

domestic exhibitors. The Texas-based circuit has always

placed an emphasis on being a leading brand wherever

it’s located, whether in a suburb of Houston, Texas, or

São Paulo, Brazil. Cinemark finished the year as either the

number one or two exhibitor of choice in 22 of its top 30

markets in the United States, making its presence known

across 41 U.S. states. Internationally, Cinemark continues

to be a global leader, with a presence in 15 Latin American

countries and theaters in 13 of the 15 largest metropolitan

areas in South America.

The circuit’s recliner seating option, Cinemark Luxury

Loungers, was present in 764 screens—around 17 percent

of its U.S. circuit—by the end of the third quarter of 2016,

and is expected to reach 1,000 by year end. The concept

has seen an attendance boost in the screens in question,

showing a 40 percent bump in theaters that have been

open for more than six months. Cinemark has experienced

39 consecutive quarters of per patron growth at its

domestic concessions stands. They finished the year with a

strong push on alcohol sales, expanding the concept to 20

percent of the circuit by year end. As of the third quarter,

Cinemark offered enhanced food and beverage options

across half its locations in the United States. Another point

of focus for the exhibitor is the deployment of its own

private-label premium large-format offering, Cinemark XD,

which has 218 screens installed across its circuit worldwide.

4

SCREENS

SITES

1,683 165

CINEPLEX

Toronto, Ont.

n Canada’s leading exhibitor finished the year with 1,683

screens across 165 theaters. The circuit was responsible

for 77.5 percent of Canada’s box office market share as

of last October, a reflection of its prevalence in the Great

White North.

Cineplex is practically synonymous with innovation

within exhibition circles, thanks to its history of risk taking

on emerging trends and technology. The exhibitor has been

able to extend its consumer relationship into the home-

S I G N A T U R E S P O N S O R

John Albers

Chief Executive Officer

Arts Alliance Media

n “I really believe in the power of technology to make a difference

to customers” says AAM CEO John Albers. Having led

the London-based company since 2014, he has seen the effect

technology can have on the exhibition industry firsthand.

Albers’s vision for AAM includes helping customers create

new business opportunities, generate more revenue, and save

money running their cinemas—all with the minimum of hassle.

“Innovation has always driven exhibition forward, and the

potential to revolutionize the industry is greater now than it’s

ever been with the arrival of software,” he notes. “From making

cinema visits unique, personal, and even more memorable to

harnessing the power of data to make better decisions and increase

revenues, the potential for advances is huge right now. It’s

great to see so many innovative exhibitors in this year’s Giants

of Exhibition list, and I can’t wait to see who leads the field this

year in using technology to really improve the cinema experience.

Congratulations to all the 2017 Giants of Exhibition.”

Albers’s background includes several stints leading innovative

telecom and Internet companies, and he has built a variety

of fast-growing companies. What all his previous experience

has in common is the creative use of cutting-edge technology

to bring cost savings and revenue growth to customers—qualities

that are perfectly aligned with AAM’s mission to improve

exhibition with technology.

Since Albers joined AAM, the company has grown to see its

TMS software installed on more screens than any other provider,

as well as providing a complete suite of software to manage

all aspects of cinema operations. He most recently oversaw the

launch of Thunderstorm (www.aamthunderstorm.com), AAM’s

platform for innovative apps and services for exhibitors, and he

has been relishing the chance to bring new ideas to cinema owners.

“Being able to share our vision with cinema owners for how

software can transform their business in the most positive ways

is very rewarding. I’ve also learned so much from exhibitors, and

I’m always interested in hearing the problems they all encounter

day to day (which are often surprisingly similar), and ideas as to

how we can overcome them.

“I believe it’s such an exciting time to be working in cinema.

The big-screen experience still can’t be beaten, and the gap is

getting bigger, not smaller. As a CEO and as a movie fan, I want

that experience to be the best it can possibly be.”

FEBRUARY 2017 BoxOffice ® 29


THE GIANTS

OF EXHIBITION

S I G N A T U R E S P O N S O R

Paul Yanover

SVP of Affiliate Partnerships

National CineMedia (NCM)

n Congratulations to the Giants of Exhibition, our valued

partners who are doing incredible things to enhance the moviegoing

experience and drive more consumers to theaters.

There has been so much innovation across the industry,

from the movie-ticket purchasing experience on mobile devices

and social platforms to exhibitors creating new in-theater

experiences like reserved seating and dine-in options, to name

a few. It has been exciting working together to introduce new

ways to incentivize fans to purchase tickets in advance. We

look forward to continuing to support you with the very best

movie discovery, planning, and ticket-buying innovations to

super-serve your guests.

At Fandango, we are constantly looking for new ways to

help consumers discover movies and buy tickets. Our recent

social ticketing innovations for Apple’s messaging platform on

iOS 10, Facebook, and Snapchat enable friends and families

to easily plan a night out at the movies and purchase tickets

without leaving their mobile chat or social media conversations.

These experiences fit organically into the way movie fans

are already communicating and making plans with friends or

significant others. Thanks to additional technology partners

like Amazon, Google, Samsung, Microsoft, and many others,

we are building tools for movie discovery and ticket buying

across every platform to help you fill more seats.

It is a thrill for us to work closely with such an amazing

group of exhibitors. Many thanks are due to all of you for your

passion, teamwork, and incredible devotion to making moviegoing

such a fantastic, unbeatable, and memorable experience.

entertainment market through its Cineplex Store, a digital

platform available across multiple platforms that enables athome

and mobile VOD viewing. This allows Cineplex to take

full advantage of SuperTicket offerings, which enable viewers

to purchase a movie ticket and pre-order a digital download

in the same transaction. The service is linked to its Cineplex

Scene loyalty program, currently represented in a third of

Canadian households—making it one of the top five loyalty

programs in Canada. Cineplex has also focused investment

on gaming, not necessarily confining those activities to lobby

arcades. World Gaming, Cineplex’s foray into the e-sports

market, works in conjunction with the concept, with Cineplex

hosting a series of events across its circuit.

Premium experiences accounted for 46.5 percent of

Cineplex’s box office revenue from July to September 2016.

Its Ultra AVX concept is available in 85 auditoriums and

is responsible for 14.6 percent of the circuit’s box office.

Ultra AVX combines wall-to-wall screens, Dolby ATMOS

immersive sound, reserved seating, and rocker seats.

Cineplex is also active with VIP cinemas, having 17 open

sites as of October, with another pair of locations scheduled

to open in 2017.

5

SCREENS

SITES

883 68

MARCUS THEATERS

Milwaukee, Wisc.

n Marcus made a big splash before the end of the year

by announcing the acquisition of 14 Wehrenberg Theatres

locations, lifting its presence to over 800 screens across a

total of 68 locations. Even without the additional screens,

Marcus was reporting steady growth across its existing

circuit. The chain averaged 12.7 screens per location in seven

midwestern states. An $165 million investment over the last

three years was dedicated to enhancements like recliner

seating, large-format screens, and expanded concessions

offerings. That three-year period has resulted in 21 locations

featuring recliner seating, 51 large-format auditoriums, and

more than 35 locations with expanded concessions. Recliner

seating is now available at nearly half of its screens, and

there are plans to continue deployments through 2017.

When it comes to food and beverage, we focus on Marcus

Theatres’ winning strategy in this issue’s Concessions Stand

section (page 36).

The circuit has found continued success with initiatives

it has introduced in recent years. Following its launch in

March 2014, the Marcus Magical Movie Rewards loyalty

program has been embraced by more than 1.6 million

members who take advantage of its perks—including a free

popcorn for its $5 Tuesday campaign. Marcus launched

its $5 Tuesday value proposition at the tail-end of the

economic recession, and the concept has proven to be a

hit with audiences, essentially creating an extra weekend

day of business without cannibalizing regular weekend

sales. With the momentum of the Wehrenberg acquisition

behind them, the 1,000-screen milestone is now within

reach for Marcus Theatres.

30 BoxOffice ® FEBRUARY 2017


THE GIANTS

OF EXHIBITION

6

HARKINS THEATRES

Screens: 501 / Sites: 33

7

SOUTHERN THEATRES LLC

Screens: 499 / Sites: 44

8

B & B THEATRES

Screens: 401 / Sites: 50

9

NATIONAL AMUSEMENTS INC.

Screens: 392 / Sites: 29

10

MALCO THEATRES INC.

Screens: 341 / Sites: 34

11

LANDMARK CINEMAS OF CANADA INC.

Screens: 309 / Sites: 45

12

GOODRICH QUALITY THEATERS INC.

Screens: 288 / Sites: 31

13

PREMIERE CINEMA CORP.

Screens: 287 / Sites: 26

14

COBB THEATRES III LLC

Screens: 278 / Sites: 24

15

BOW TIE CINEMAS

Screens: 271 / Sites: 44

16

LANDMARK THEATRES

Screens: 268 / Sites: 56

17

GEORGIA THEATRE COMPANY

Screens: 252 / Sites: 24

18

READING CINEMAS

Screens: 249 / Sites: 27

19

STUDIO MOVIE GRILL

Screens: 243 / Sites: 25

S I G N A T U R E S P O N S O R

Doug Darrow

Senior Vice President

Cinema Business Group

n For more than 45 years, Dolby has been at the forefront

of innovation in the cinema industry, and it’s our exhibition

partners who have helped us to keep pushing the boundaries

of movie technologies. Among them, AMC has become

one of our closest partners in driving excellence in cinema

presentation.

In fact, when we were first developing Dolby Atmos, we

needed a real-world test facility to ensure that we were going

to be able to deliver the best next-generation sound experience

to moviegoers. AMC shared in our vision and provided us a

testing ground in our own backyard here in San Francisco at

AMC Van Ness. AMC was also among the first exhibitors to

implement Dolby Atmos with the release of Disney-Pixar’s

Brave, in June 2012. Since its debut in cinemas worldwide,

Dolby Atmos has quickly been embraced by leading exhibitors

around the globe. Not only is Dolby Atmos deployed in more

than 60 countries with more than 500 exhibitor partners, but

it surpassed a major milestone in 2016, with more than 2,000

installed cinema screens and 500 movie titles released.

Although AMC was a huge partner in the success of Dolby

Atmos, what I am most proud of and excited about is our

continued collaboration to deliver Dolby Cinema at AMC, the

world’s premier cinema experience with the highest-performance

imaging and sound technologies. In January 2017, we

reached and surpassed our 50th Dolby Cinema at AMC location

opening, with plans to deploy more than 160 locations

across the United States. Our fast-paced growth is a testament

to the shared commitment by Dolby and AMC to deliver a

best-in-class entertainment experience to movie lovers. Dolby

and AMC truly believe that the biggest and best shared entertainment

experience happens at the cinema. Our goal is to

keep evolving the moviegoing experience, making the cinema

a go-to place to be entertained.

On behalf of all of us at Dolby worldwide, I would like to

congratulate all of our exhibitor partners, and especially AMC

on being ranked number one among Boxoffice magazine’s

Giants of Exhibition. Keep presenting and Dolby will keep

innovating.

20 TIE

FRANK THEATRES

Screens: 227 / Sites: 21

FEBRUARY 2017 BoxOffice ® 31


THE GIANTS

OF EXHIBITION

S I G N A T U R E S P O N S O R

Stan Ruszkowski

Chief Revenue Officer, SVP

Sales & Business Development

n On behalf of everyone here at Webedia, we’d like to

congratulate the honorees of this year’s Giants of Exhibition

ranking. As a leading authority on show-time gathering and

distribution, we take pride in our role of helping moviegoers

find the right screening at their theater of choice in more than

70 countries worldwide. The early days of our business were

marked by providing show-time listings to local newspapers

nationwide. Suffice to say, both consumer habits and the

industry itself have changed significantly since—and we’ve

evolved right alongside them. We currently deploy accurate

show-time, theater, and movie-listing data across a variety of

digital channels and platforms, extending that connection

between moviegoers and their favorite cinemas by providing

exhibitors an array of digital marketing services. From exhibitor

websites to social media management and e-newsletters,

Webedia continues to play an important part in connecting

your theater with audiences in today’s digital world. We have

also begun helping theaters establish their independent online

ticket platforms on their own websites, complementing the

existing relationships between exhibitors and third-party

ticketing services by giving consumers an additional avenue

for purchases.

As the sister company of this publication (Boxoffice Media

and Webedia Entertainment are both part of France’s Webedia

Group), we firmly believe in the open exchange of ideas and

dialogue about the industry’s emerging trends and topics.

Collaboration across all aspects of the exhibition industry

is therefore a central principle for us, and we look forward

to continuing our relationship with the exhibition community—a

connection that applies to single screens, Giants’

circuits, and everyone in between.

20 TIE

PACIFIC THEATRES/ARCLIGHT CINEMAS

Screens: 227 / Sites: 17

22

EMAGINE ENTERTAINMENT INC.

Screens: 218 / Sites: 19

23

REGENCY THEATRES INC.

Screens: 203 / Sites: 29

24

NCG (NEIGHBORHOOD CINEMAS GROUP)

Screens: 186 / Sites: 20

25

ALAMO DRAFTHOUSE CINEMAS LLC

Screens: 185 / Sites: 25

26

LARRY H. MILLER THEATRES

Screens: 185 / Sites: 17

27

MARQUEE CINEMAS INC.

Screens: 175 / Sites: 17

28

CINÉPOLIS USA

Screens: 162 / Sites: 16

29

CINEMA ENTERTAINMENT CORP.

Screens: 160 / Sites: 20

30

CELEBRATION! CINEMA

Screens: 156 / Sites: 12

31

UNITED ENTERTAINMENT CORP.

Screens: 154 / Sites: 17

32

CINÉMAS GUZZO

Screens: 149 / Sites: 10

33

MJR THEATRES

Screens: 148 / Sites: 9

34

COMING ATTRACTIONS THEATRES INC.

Screens: 146 / Sites: 17

35

SANTIKOS ENTERTAINMENT

Screens: 145 / Sites: 10

32 BoxOffice ® FEBRUARY 2017


THE GIANTS

OF EXHIBITION

36

GALAXY THEATRES LLC

Screens: 136 / Sites: 12

37

CINEMA WEST

Screens: 127 / Sites: 13

38

FLAGSHIP PREMIUM CINEMAS

Screens: 124 / Sites: 16

39

ALLEN THEATRES INC.

Screens: 115 / Sites: 16

40

IPIC ENTERTAINMENT

Screens: 113 / Sites: 15

41

CLASSIC CINEMAS

Screens: 111 / Sites: 14

42

PARAGON THEATERS

Screens: 107 / Sites: 10

43

PHOENIX THEATRES ENTERTAINMENT LLC

Screens: 103 / Sites: 11

44

MITCHELL THEATRES

Screens: 102 / Sites: 14

45

SOUTHEAST CINEMA ENTERTAINMENT

Screens: 101 / Sites: 10

46

EPIC THEATRES

Screens: 100 / Sites: 8

47

SANTA ROSA ENTERTAINMENT GROUP

Screens: 98 / Sites: 10

48

R.L. FRIDLEY THEATRES

Screens: 97 / Sites: 22

49

YOUR NEIGHBORHOOD THEATRE

Screens: 93 / Sites: 13

S I G N A T U R E S P O N S O R

Malcolm MacMillan

Chief Marketing Officer

Peach Digital

n We congratulate all the Giants of Exhibition for making it

to this prestigious list. As a partner to seven of the Giants, we

witness the hard work and dedication that goes into making

a successful cinema circuit, and Peach Digital is proud to be

associated with some of North America’s highest-performing

cinema circuits.

As a web and online marketing agency, Peach naturally

believes that “great cinema experiences start online,” but we

also live in the real world. We know that it is important to

offer a consistent and seamless brand experience from “couch

to concessions.” We therefore design our responsive websites

to ensure that your brand is differentiated and your unique

experience is reflected at every stage of the customer journey.

We can also help drive traffic to your cinema website through

highly optimized websites and search marketing techniques.

Behind every website lies the Peach Cinema middleware

solution. Specially developed to cope with the unique

demands of the cinema industry, this application integrates

with the leading point-of-sale systems to deliver direct online

ticketing for the exhibitor. This reliable and scalable platform

is perfect for circuits who wish to grow their own online ticket

sales and improve data capture and customer engagement.

The platform also gives our clients unrivaled control over

their website, apps, and other online assets. This means that

our clients can manage and deploy their own innovative sales

and marketing programs and maximize financial return without

reference to Peach.

Everything we do is geared toward helping our clients grow

their online business. Now that we are part of the Webedia

Entertainment Group, Peach is in a position to extend its

range of market-leading products and services and—for the

first time—provide a more localized service through offices in

Connecticut and Los Angeles.

We look forward to connecting with more Giants in 2017!

50 TIE

WARREN THEATRES / ZYACORP ENTERTAINMENT

Screens: 91 / Sites: 8

FEBRUARY 2017 BoxOffice ® 33


EVENT

CINEMA

SPECIAL

EVENT

Event cinema’s giant of

exhibition recaps an eventful

year (forgive the pun) and

looks forward to a big 2017

Interview with John Rubey

CEO, Fathom Events

by Danial Loria

How was 2016 for

Fathom, and what is

your current presence

across screens in

North America?

Fathom Events

remains the worldwide

leader in event cinema,

and 2016 was a record

year for us in many ways.

We brought an unprecedented

number of our

events into cinemas in a

variety of genres. We had

45 events fall in the box

office top 10 throughout

the year, and we grew

our cinema network by

four times. Fathom now

has a presence in every

single one of the top 100

DMAs in the United

States.

What were some of

your best performing

titles of the year?

We’ve seen many

successes in 2016, both

big and small. Some of

our top box office hits

from this year include Batman: The Killing Joke, Rob

Zombie’s 31, and faith-based events like To Joey with

Love and Kirk Cameron’s Revive US.

Let’s talk about the different genres you carry:

Which ones are growing? Any new sectors

turning the corner? And which, if any, sectors

have audiences taken a longer time to adapt

to?

The Metropolitan Opera is always a strong performer

for Fathom. We’ve also seen a lot of success

with our inspirational and faith-based titles, as well as

nerd-core and music events that bring in a large and

loyal fan base of their own. In the next year, we’ll be

pushing the boundaries of what a live, in-cinema event

can entail with some exciting new projects, as well

as bringing in more from the anime, Broadway, and

classic-film categories.

How can e-sports and gaming revolutionize

the event cinema industry? And what is

Fathom’s positioning in that sector?

Fathom brought several e-sports and gaming events

to cinemas this year, with both public and private

event models. This audience enjoys these events because

they’re in the movie theater with like-minded individuals,

cheering along together as they watch their

favorite players on the big screen. It creates a new way

to experience their favorite games and events, since

it is otherwise only available on personal devices, not

offering the same communal experience as watching

it in a movie theater. We were particularly impressed

with Let’s Play Live, which sold out the Hammerstein

Ballroom in New York City during New York Comic

Con and sold very well in cinemas across the U.S.

This exclusive production was created specifically for

cinemas and was a huge hit with fans.

Sports rights are often difficult to navigate.

Does Fathom act as a rights owner in the

sporting events you offer?

As a distributor, Fathom doesn’t own the rights

to any of the content we present. However, the many

content providers that we partner with do. In the

sports realm, we have partnered with Mayweather

Boxing, Golden Boy Promotions, The LA Kings,

Showtime, UFC, Fox Sports One, NBC Sports, and

the NHL to bring their sporting events to movie

theaters nationwide.

What is the biggest challenge facing event

cinema?

The goal of event cinema is always to fill seats

during the “off-peak” times for movie theaters, so our

challenge is to find the right type of niche content that

has an established and passionate fan base in order to

draw a large audience any time of the week.

How big a challenge is marketing for event

cinema? I’ve seen a lot of events looking to

engage content with active fan bases—Doctor

Who comes to mind, for example—but how

much is there left to do to get the word out to

consumers?

While we love to program events that have a builtin

fan base, our marketing team is always a part of the

equation, getting placement in various mainstream

and niche outlets, driving social media and digital

34 BoxOffice ® FEBRUARY 2017


We’ve seen many successes in 2016, both

big and small. Some of our top box office

hits from this year include Batman: The

Killing Joke, Rob Zombie’s 31 [shown], and

faith-based events like To Joey with Love

and Kirk Cameron’s Revive US.

outreach, securing brand partnerships, and more. We also look to

the client and talent to help drive our promotion initiatives to ensure

that our messaging is getting to everyone and anyone who would

enjoy the event.

How can Fathom help exhibitors in these marketing

efforts?

Fathom works closely with exhibitors as we have established

relationships with our owners, AMC, Cinemark, and Regal, as well

as many of the other affiliates that show our content. We have a team

dedicated to providing the exhibitors with promotional materials

that help them cater to their dedicated and new Fathom fans through

their physical locations, online presence, and social channels.

What’s your forecast for 2017?

In the New Year, we are slated to have even more events in cinemas

than previous years, including several new partnerships that will

diversify our offerings. We are looking to bring some international

titles to the U.S. for the first time and work with some fan-favorite

TV shows to bring premiere events, exclusive content, and more to

the big screen. It’s an exciting time for event cinema, and there is

always more to come. n

FEBRUARY 2017 BoxOffice ® 35


CONCESSIONS

STAND

AN

EXPERTISE IN

HOSPITALITY

Interview with Rob

Novak, Vice President of

Concessions and F&B, Marcus

Theatres

by Daniel Loria

n While expanded menus and stand-alone

restaurants have found success at movie

theaters in recent years, those concepts

can hardly be called a “trend” at Marcus

Theatres. The midwestern circuit has long

had an equal focus on the hospitality

industry, operating its dining and hotel

activities with the same attention to detail

and customer care as its exhibition business.

As the concessions stand continues

to evolve, Boxoffice spoke to Marcus’s

Rob Novak (left) to find out how one of

the country’s leading cinema chains approaches

its food and beverage strategy

in a period of changing consumer tastes.

As a company, I think it’s fair to say that

Marcus isn’t only in the exhibition industry—

it’s in the hospitality business. The

company has had a long history with

hotel and restaurant concepts;

how has that history and

expertise informed your

concessions strategy in

this new era of expanded

concepts?

As we look at our Marcus

Hotels & Resorts division and

our long history of restaurants, it’s

evident that the company understands

the power of having successful food and

beverage options within our facilities. Many of our

hotels operate full-service dining experiences because

hotels are destinations. Our theaters are destinations

themselves, and by offering more versatility in food and

36 BoxOffice ® FEBRUARY 2017


everage, we have

an opportunity to

create an enhanced

guest experience and,

therefore, customer

loyalty.

Reel Sizzle is a

newer concept in

your concessions

offerings;

originally in just

one location, it

has since been

expanding rapidly

in the last several

months. What has been your experience with it?

The Reel Sizzle experience has been very positive with our

customer base, as we offer food that is very easily consumed within

a theater environment, like burgers, chicken sandwiches, shakes,

and more. Additionally, we’ve found that there is much success with

burger restaurants in today’s marketplace. With Reel Sizzle, we’ve

identified the opportunity to leverage that demand within the confines

of a movie theater.

How much of a challenge is it to train staff in these

additional roles, as cooks or waiters?

Staffing has been one of our greatest challenges. We often have to

look beyond our current associates to find the most qualified cooks,

waiters, bartenders, and dishwashers, because these are positions

that require a unique skill set. It’s often challenging to find skilled

candidates who understand the operations of a movie theater, as individuals

in these professions are not typically seeking out employment

in a movie theater. We have had to market ourselves as a destination

for these workers and promote all the food and beverage employment

opportunities available within our facilities, as well as provide a career

path for these associates to move upward within the organization.

or other varieties

elsewhere. It is a

destination item

that consumers

seek out on a

regular basis and

it’s a staple of the

overall moviegoing

experience.

The industry is

not deviating

from that. It’s our

job to supplement

traditional

concessions

items with other

food and beverage amenities, but we’re not looking to get away from

standard concessions fare.

The mantra of Marcus Theatres is to serve the highest quality food

and beverage and concessions items, because we understand the importance

of offering items that exceed guest expectations. Consumers

have a preconceived notion of the quality found in movie theaters,

so we have spent time improving that perception with menu items

that meet or exceed traditional restaurant offerings. For example,

we cook all of our products from a scratch kitchen, where we focus

on executing quality in all aspects, from a cooking perspective to a

service standpoint. n

What innovation to today’s food and beverage landscape

in exhibition do you find most compelling?

For me, it’s in-auditorium dining because of the ability to help

people consolidate their time. Americans are often hard-pressed to

find time to go to dinner at a restaurant first and then to a movie.

Our Big Screen Bistro auditoriums enable them to do both at once

for a complete night out under one roof. Therefore, Marcus Theatres

strives to provide menu items with a level of quality such that the

consumer is willing to skip out on a traditional restaurant to instead

enjoy their meal inside our theaters.

What role do more traditional concessions—popcorn, soda,

candy, and so on—play in your theater today?

Traditional concessions items continue to be the base of our food

and beverage operation and the ones that touch the majority of our

guests. The two most important items that movie theaters sell are

fountain beverages and popcorn. Through our long-standing relationship

with Pepsi we have been able to offer our guests a diversified

lineup of drink options. Movie theater popcorn is considered the

premium popcorn as compared to microwavable popcorn at home

FEBRUARY 2017 BoxOffice ® 37


EXHIBITOR

MARKETING

PRESENTED BY

INDEPENDENTS UNITE

Indie Marketing Coalition lifts independent

exhibitors into the realm of giants

by James Devin

n At this time every year, we celebrate the top 50 Giants of Exhibition

as measured by total screens. This year, the top five combine to

represent roughly half of the 40,000-plus screens in North America,

highlighted by the new No. 1 seed, AMC Theatres.

In 2016 we’re also looking at the independent market to measure

its impact and gauge its place in the top 50. Powered by NATO’s

Cinema Buying Group (CBG) and 2016’s Independent Rookie of

the Year, the Indie Marketing Coalition (IMC), the indie scene has a

lot to be proud of, and these organizations boast impressive membership

numbers.

With over 2,000 screens enrolled in the IMC, they would slot

in as the fourth largest chain in North America. We spoke with the

team behind the IMC—Donna Freed, Sandy Holmes, and Nancy

Klueter—to find out more about their programs.

What’s your “origin story”? Where did the IMC come from?

It started with the formation of our agency, 2656 Marketing, in

2013. Our mission was, and continues to be, to support filmmakers

and brands alike with strategy, marketing plans, and campaign execution.

Our team members have diverse and complementary backgrounds

in the entertainment, marketing, media, and publicity areas.

The Indie Marketing Coalition (IMC) was an idea developed early

in the 2656 Marketing partnership. When brainstorming how to

support film marketing in general, it soon became apparent that the

independents and smaller regional circuits could get more attention

and bigger promotions from studios if they joined together to act as

a larger circuit. This provides studios with a one-stop shop to reach

this important group. Our vision: to form a coalition of regional

and independent theater owners, enabling the larger group to garner

attention and resources from filmmakers and studios.

Who is eligible for membership?

We worked closely with NATO to ensure that all members of the

Cinema Buying Group (CBG) can join this coalition at no cost and

participate in the benefits offered. Increased participation will enhance

opportunities for expanded studio programs and partnerships

not previously available to members. We launched in early 2016,

and we officially kicked off the program at CinemaCon 2016 and

continue to grow the membership and programs.

What are some of the programs you offer your members?

The 2656 Marketing team provides our members an easy-toaccess

format for studio-generated digital assets, saving exhibitors

valuable time for their multitasking teams. Traditional assets are

now made available by select studios, ranging from mini one sheets

to standees. Our partnership with Webedia Entertainment provides

additional benefits to joining the IMC, including free csXpress, a

utility that powers show-time searches on Google, Bing, IMDb, Rotten

Tomatoes, and hundreds of other digital and print platforms. A

studio-sponsored manager contest focusing on social media exposure

was initiated this summer to great success. We are in conversation

with several technology companies to further promote the moviegoing

experience.

What can members look forward to in 2017 and beyond?

Moving forward, we are looking at launching a movie-themed

concessions program and a central website for all members:

MyTheatre.Rocks. n

EXECUTIVE PROFILES

Donna Freed brings

over 20 years of operating,

marketing, and

sales experience to 2656

Marketing. Prior to

creating 2656 Marketing

in 2013 and Phaz2

in 2006, she was president of Terry Hines

& Associates, helping to transform it from

a regional firm to a national media-placement

and promotional agency. Before

THA, Freed served as a senior executive at

Hollywood.com. Prior to that, at the Los

Angeles Times as VP sales and marketing,

Freed led the department with innovative

new products and strategies to build the

entertainment franchise into the largest

product category of advertising revenue for

the paper.

Sandy Holmes is an accomplished

and highly

regarded media executive.

Her more than 20

years of strategy, management,

and marketing

experience helped

her to found mobile-centric technology

firm Phaz2 in 2006 and 2656 Marketing

in 2013. Her marketing experience has

resulted in great success within the entertainment,

gaming, and media industries.

Holmes has worked with both major and

independent film studios, creating strategies

that expand customer engagement and

increasing box office and ancillary success.

Prior to creating 2656 Marketing and

Phaz2, she held key positions with Channel

One News, Tribune Broadcasting, and

launched the sales and marketing departments

for the West Coast’s leading public

broadcasting station, KCET.

Nancy Klueter is a

highly accomplished

and versatile film-marketing

executive with

25-plus years of experience

in distribution

and exhibition. Prior to

joining 2656 Marketing in 2015, she was

vice president, exhibitor relations for Walt

Disney Studios Motion Pictures, where she

was responsible for developing and implementing

marketing programs for films to

ensure maximum success with grassroots

programs. Prior to Disney, Klueter worked

for AMC Theatres as a theater manager

and in their Studio Relations Department.

Klueter’s extensive nonprofit experience

has greatly benefitted many charities,

including Variety – the Children’s Charity.

38 BoxOffice ® FEBRUARY 2017


Compiled by Erica Lopez, Executive Director, Variety – The Children’s Charity of the United States

CHARITY

SPOTLIGHT

RECENT EVENTS

VARIETY OF WISCONSIN

Holiday Party for the Kids

December 10, 2016

Every year, Variety of Wisconsin has the

pleasure of hosting its holiday party for

hundreds of Variety kids and families

throughout Wisconsin. This year, Variety

of Wisconsin hosted parties in four cities

throughout the state, including Milwaukee,

Appleton, Madison, and Chippewa

Falls. The celebration brings holiday cheer

to the hearts of little ones and old. Families

got the opportunity to take a family

photo with Santa, and then enjoyed a

movie with complimentary popcorn and

drinks. Every child received a gift bag and

book, too.

UPCOMING EVENTS

Variety of Iowa Des Moines

Sweetheart Charity Date Auction

February 4

Jasper Winery at 2400 George

Flagg Pkwy, Des Moines,

Iowa 50321

web: bit.ly/2ilUMAR

This super-fun event for singles

and young professionals

will be held at Jasper Winery

and feature 20 of the most

eligible guys and ladies from

around Des Moines. Admission

is $10 at the door and

includes appetizers, dessert,

and the opportunity to bid.

Remember, bid early and

often as all proceeds benefit Variety and

Iowa children.

Mommy & Me: Sweetheart Dance

benefitting Variety of Iowa

February 11

web: bit.ly/2hw8jkD or bit.ly/2hzOnk3

Holiday Inn Downtown at 1050 6th Ave.,

Des Moines, Iowa 50314

Celebrate with your own little sweetheart(s)

and create unforgettable memories. Enjoy

dancing, capturing memories, sampling

from appetizers and dessert buffet, and

getting creative with a craft activity.

Variety of Iowa Telethon

March 4 & 5

Community Choice Credit Union Convention

Center in Des Moines

Each year, a lineup of local, national, and

international personalities perform to

support the children of Iowa. Working

alongside the Telethon cast, thousands of

volunteers and Very Interested Persons

(VIPs) take pledges over the phones and

solicit donations from family and friends.

You may donate online at bit.ly/2iRcKar.

Shouldn’t your concession

stand have a few drinks?

Adding beer, wine, and liquor

to your concession stand attracts

upscale patrons and increases

profits. But you’ve got to do it right.

That’s why we’re here. For over 45

years, Proctor Companies has been

creating innovative, inviting spaces

that sell, sell, sell.

Considering a new project? Pick up

the phone and give us a call.

800-221-3699

sales@proctorco.com

Angelika_Half BO.indd 1

1/14/17 8:54 AM

FEBRUARY 2017 BoxOffice ® 39


TECHNOLOGY

GDC SHOWCASES NEW TECHNOLOGY,

GROWTH AT CINEASIA

n GDC Technology showcased its suite of new tech offerings

at CineAsia 2017, including its combination of 3D high frame

rate footage mixed with the DTS:X audio format using the GDC

Immersive Sound Solution.

“Our commitment to being first-to-market with innovative

cinema solutions has always been a point of pride for the company,”

said Man-Nang Chong, founder, chairman, and CEO of

GDC Technology Limited, in a press release. “Since its founding,

GDC Technology has established a proven track record of advancing

the cinema experience with revolutionizing content delivery,

theater management solutions, and electronic delivery systems,

among others. More recently, GDC Technology launched its

Immersive Sound Solution featuring DTS:X to wide acceptance,

installing the enhanced audio experience at over 200 screens with

over 200 more in the pipeline.”

The company took the occasion to celebrate the continued

growth of its TMS-2000 Theater Management System. The TMS-

2000 is now the second most used in the world and is deployed

on over 20,000 screens globally. New features for the TMS-2000

include a Template System, an automatic generation of a showtime

playlist based on integration with a point-of-sale system’s title

and show-time data; an Automated Pre-Show, providing a template

that allows exhibitors to insert ads and trailers automatically

according to given rules; and an Automatic KDM Ingestion via a

USB key. The TMS-2000 also boasts increased integration with

leading digital cinema brands, including Barco, CGS, Christie,

Dolby, IMAX, NEC, and Sony.

“Since the launch of the TMS-2000 at CineAsia 2014, the

list of exhibitors who solely rely upon it to provide simple and

efficient centralized management has grown exponentially,” said

Chong. “With exhibitors facing rising operational costs, our role

is to continually improve the theater management system to offer

exhibitors a complete solution for management of the digital-cinema

work flow. This impressive growth, and the surpassing of

20,000 screens, is proof the newest features and enhancements

have been a boon for exhibitors.”

AUDIO

CHRISTIE VIVE

AUDIO REACHES 400

INSTALLATIONS

n Christie closed 2016 by celebrating the

400th installation of its Christie Vive Audio

cinema sound system with the addition of 17

auditoriums in Taiwan’s Showtime Cinemas.

The agreement makes Showtime Christie’s

largest customer in the Asia Pacific region.

“Since the first components began shipping

in 2014, we have expanded the Christie

Vive Audio system product lineup to include

a wide range of speakers, amplifiers, and

audio-video processors,” said Patrick Artiaga,

Christie Audio’s director of business development.

“As the creative community pushes the

envelope to deliver the most realistic audio

experience possible to moviegoers, we’ve

developed these Christie Vive audio products

specifically to help production teams achieve

their creative objectives and exhibitors meet

performance challenges.”

Christie Vive Audio is compatible with

leading immersive and surround-sound

formats, including Dolby Atmos and Barco

Auro. The system saw a number of high-profile

installations throughout 2016, including

Argentina’s Village Cines Recoleta multiplex,

Spain’s Odeon Multilines new Madrid location,

and Colombia’s Cinemas Procinal La

Ceja cinema. Production facilities have also

given Vive Audio a warm reception: earlier

this year, Singapore’s Mocha Chai Laboratories,

the country’s first fully integrated digital

film lab, installed the system in its complex

to aid in post-production tasks.

DOLBY ATMOS REACHES

2,000 SCREENS

n Dolby Atmos finished the year by hitting

two major milestones: reaching over 2,000

screens worldwide and boasting 500 movie

titles mixed in the immersive audio format.

First introduced to movie audiences with

the 2012 release of Disney Pixar’s Brave,

Dolby Atmos has grown to be embraced

by Hollywood’s creative community; 18

Atmos soundtracks have earned Academy

Award nominations, with eight wins across

categories such as Best Sound Mixing, Best

Sound Editing, Best Animated Feature Film,

and Best Director.

“When Brave was released in 2012,

Dolby Atmos enabled us to bring audiences

into the rich and fantastic world of Merida

through their execution of previously inaccessible

soundscapes,” said Mark Andrews,

writer and director of Brave. “Dolby Atmos

enables our creatives at Pixar to tell stories

with sound, taking audiences across new

dimensions of entertainment. As one of the

first to use Dolby Atmos, we have witnessed

this platform’s steady growth and value as

an essential element for the next-generation

filmmaker.”

Dolby Atmos is now deployed in over 60

countries and 150 post-production facilities

and is a cornerstone of the Dolby Cinema

format, with its 50 locations worldwide.

VIRTUAL REALITY

D-BOX, MK2 RAMP UP FOCUS

ON VR IN 2017

n D-BOX Technologies, best known in the

exhibition industry for its immersive-seating

platform, is ramping up its virtual reality

activities in 2017. Looking to establish itself

as a market leader in the bourgeoning VR

market, D-BOX enters the year following a

2016 that saw ventures with companies in

a number of industries, including Ubisoft,

FOX Innovation Lab, VRC, HTC Viveland,

Samsung, and French exhibitor mk2.

“As the VR industry swiftly moves from

the early-adopter phase to mass market,

D-BOX is ready to lead the way by bringing

a new level of believability and realism to

the content in an artfully nuanced, yet safe

and secure, way,” said Claude Mc Master,

president and CEO of D-BOX. “Our cut-

40 BoxOffice ® FEBRUARY 2017


ting-edge technology, creativity, and versatility

are the magic formula VR developers are

looking for. We see what we do as the future

of VR storytelling.”

D-BOX recently launched a social-responsibility

campaign for Diageo, a Johnnie

Walker brand, in collaboration with Vayner

Media. The campaign recreates the consequences

of drunk driving, depicting a bad

car crash using the immersive realism of the

VR platform.

“Our motion coding technology can

effectively reduce or eliminate uncomfortable

side effects that users have experienced,” said

Mc Master. “The fact is, our motion-coding

technology puts us in a unique position to

work with VR developers, VR content providers,

ad agencies, theme parks, and movie

studios to bypass the limitations of VR, enhance

the experience, and bring all of them

closer than ever to their original vision.”

France’s mk2 is one of the early adopters

of the VR concept among exhibitors.

The circuit recently announced the grand

opening of “mk2 VR,” a permanent space

dedicated to VR experiences, in its mk2

Bibliotheque location in Paris through a

partnership with BNP Paribas (seen at right).

The location is a popular one in France; the

country’s third largest theater, it accounts for

nearly 2 million attendees per year.

“We are bringing VR to a multiplex-like

environment with the opening of the

first-ever entertainment venue fully dedicated

to upscale VR experiences,” said Elisha

Karmitz, general director of mk2. “mk2

VR’s concept offers consumers a lively, culture-filled

facility focused on VR and good

times, and that is why mk2 VR features ‘Le

Perchoir mk2,’ a terrace bar developed in

association with one of the trendiest rooftop

and open-air bar chains now in Paris, Le

Perchoir. For anyone looking for a new

experience, wanting to enjoy VR technologies,

or just having a drink in a cheerful

environment, mk2 VR is poised to be the

‘go-to’ place on the forefront of this latest

revolution in entertainment.”

The mk2 VR space is open Wednesday to

Sunday with tickets priced at 12 euros for a

20-minute session and 20 euros for 40-minutes.

With the space, mk2 becomes a pioneer

among exhibitors in creating a stand-alone

VR business. The project saw an investment

of 1.5 million euros and is expected to welcome

100,000 guests in 2017. n

FEBRUARY 2017 BoxOffice ® 41


INSIDE YOUR

THEATER

DOLBY CINEMA OPENS 10TH WANDA LOCA-

TION, EXPECTING BIG EXPANSION ACROSS

THE GLOBAL CIRCUIT THROUGH 2018

n The Dolby Cinema premium-auditorium concept

has found a receptive home in China through Wanda

Cinema Line. China’s leading exhibitor is committed

to installing at least 100 Dolby Cinema locations in

the country by the end of 2018 and is already celebrating

the opening of its 10th location in its Beijing

Fengtai Wanda Square site. It was a blockbuster debut

for the new location, hosting screenings of the smash

hit The Great Wall as its first title in the premium

auditorium.

“Through our collaboration with Dolby, the last

six months have seen growing popularity and success

of Dolby Cinema in China, and we are very excited

now to reach the milestone of our 10th Dolby Cinema

location with the opening of the highly anticipated

Wanda Cinema’s Beijing Fengtai Wanda Square site,”

said John Zeng, president of Wanda Cinema Line.

“Opening Dolby Cinema in China represents our

business philosophy, which is to prioritize audience

value and their moviegoing experience. We look

forward to working with Dolby to extend this better

moviegoing experience to consumers in more cities

and provinces in China.” Dolby Cinema opened its

first location with Wanda Cinema Line in June 2016

and has since screened 20 movies across its first series

of sites.

Wanda Cinemas currently host over 90 percent

of Dolby Cinema locations in China. Wanda’s North

American counterpart, AMC Theatres, also has plans

to expand the concept in the United States, expecting

to open 160 Dolby Cinema locations by the end of

2018. This would give Wanda/AMC over 250 Dolby

Cinema sites within the coming two years.

“As a leader and advocate of the latest cinema

technologies, Wanda has been a significant partner in

Dolby’s continuous endeavor to transform people’s entertainment

experience with our most advanced image

and sound technologies, as well as our award-winning

cinema design.,” said Doug Darrow, senior vice president,

Cinema Business Group, Dolby Laboratories.

“We are thrilled that Dolby Cinema has become a

preferred cinema experience of consumers in China.

As we open more Dolby Cinema locations with Wanda,

we are committed to transporting more moviegoers

in China deeper into the story with the inky blacks,

astonishing brightness, stunning contrast, dramatic

color, and immersive moving audio they experience at

Dolby Cinema.”

GDC INTRODUCES LOBBY EXPERIENCE AT

CINEASIA

n Cinema lobbies have been undergoing a major transformation

in recent years. Major cinema technology

companies such as Barco and Christie have made headlines

with their own innovations in bringing a modern

touch to the lobby experience, complete with digital

video displays and coordinating with surround-sound

systems to give moviegoers an immersive experience

before setting foot in an auditorium. GDC is getting in

on the action after introducing its GDC Cinema Lobby

Experience at CineAsia 2016. The GDC Cinema Lobby

Experience features a DTS:X pod to provide immersive

sound through headphones and also boasts the

innovative GDC Virtual Reality Ride, featuring DTS:X

immersive audio and Sweetech motion technology.

“The GDC Cinema Lobby Experience reinforces our

mission to provide the latest cutting-edge technology to cinemas worldwide, now extending outside the auditorium and into the lobby,”

said Man-Nang Chong, founder and CEO of GDC Technology Limited. “It is a true mark of progress for GDC and has proved once

again that GDC is about growing for, and with, the cinema industry.”

42 BoxOffice ® FEBRUARY 2017


LASER PROJECTION SPURS GROWTH,

INNOVATION FOR HARKNESS SCREENS

n The rise of laser projection appears to have simultaneously

raised the bar for screen manufacturers as well.

Harkness Screens is staying ahead of the curve with

the roll-out of its premium screen brands, Clarus XC

and Perlux Digital, deploying screens to newly installed

laser locations around the world. The company cites

its screens’ wide viewing angles, image quality, depth

of field, and low speckle contrast ratios as features

ideally suited to complement new laser projectors. All

Harkness screens feature 4K Digital Perforation Pattern

designed to reduce moiré fringing and increase light

reflectance into auditoriums.

“Boasting the largest widescreen-format screen

produced for Australia, the Harkness Clarus XC 220

screen enables the Barco DP4K60L Laser Projector to

perform at its best, displaying stunning 2D and 3D

images. Southbank Cinema 5 offers Cineplex audiences

the best movie experience with a real wow factor,”

said Cineplex CEO and founder Leo Catalano, in a

statement.

Laser projection has served as a catalyst for new

screen offerings among global exhibitors. The increased

interest recently led Harkness to invest in a larger production

facility in China

to meet demand.

Now operational, the

new China facility

has allowed Harkness

to better service its

clients in Asia Pacific’s

booming exhibition

market.

“The Chinese market

is now the world’s

largest, and with

expansion continuing

at such a rapid pace, combined with unprecedented demand

for our premium screen surfaces, we felt that we

could no longer meet local demand from our previous

facility in Beijing,” said Mark Ashcroft, CEO at Harkness

Screens. “The new purpose-built facility not only

allows us to significantly increase capacity to support

the growth in the Chinese and wider Asian markets

but also boasts the largest screen-coating facility in the

Harkness group, allowing all of our premium surfaces

to be manufactured to bigger sizes than ever before in

Asia to support almost every screen required, even the

most challenging of premium large-format sizes.” n

FEBRUARY 2017 BoxOffice ® 43


NEW

PRODUCTS

FLAGSHIP LASER HIGH-

CONTRAST PROJECTORS:

LHC SERIES

Reaching brightness levels of

36,000 lumens, the LHC series

provides the same superior

color saturation and uniformity

as the other flagship laser

projectors. Next to offering

exceptional image quality for

white and silver screens, the

LHC enables exhibitors to

simplify operations and reduce

operating expenses. An

upgrade path is available for

customers who already own a

flagship laser projector from

Barco.

BARCO ALCHEMY

INTEGRATED CINEMA

MEDIA PROCESSOR (ICMP)

With this next-generation ICMP

(right), exhibitors can leverage the full

benefits of alternative content by directly

hooking up their UHD Premium

sources to the projector. Two additional

HDMI2.0 interfaces have been

added to the ICMP, while keeping its

legacy HDMI1.4 (and SDI) inputs. This

gives users the option to hook up four

different sources. Thanks to the capabilities

of HDMI2.0, the 4K HFR and

4K 3D capabilities that the projector

and server already had are now linked

to a much wider portfolio of new

alternative content sources.

44 BoxOffice ® FEBRUARY 2017


NEW LASER PHOSPHOR MODELS: SLP SERIES

The laser phosphor cinema projectors free users from all

lamp-related costs and allow for significant energy savings.

Thanks to their unique cooling system, they boast long lifetimes.

Furthermore, their optical efficiency is also significantly

higher than lamp-based projectors—resulting in electricity-bill

savings of up to 50 percent. The introduction of the SLP

series brings laser projection down to unprecedented price

points. For less than one dollar per hour of operations, exhibitors

can now enjoy laser-image quality and ease of mind from

a brand-new laser phosphor projector.

SUPERIOR IMAGE QUALITY

By introducing the DP4K-BLP projectors with native 4K and high-lumen

light output, laser phosphor projection will now find its way to

many large cinema screens across the globe. The SLP range brings

laser phosphor quality to the smallest theaters at a very attractive price

point. Varying in brightness levels—up to 24,500 lumens—and providing

native 2K or 4K resolution, the laser phosphor projection portfolio

combines Barco’s renowned DCI-compliant image quality with the outstanding

uniformity and contrast that’s unique to laser illumination. The

laser phosphor projectors show improved image quality on both white

and silver screens and are fully compatible with popular 3D systems.

Additionally, the projector’s light output remains constant over time.

FEBRUARY 2017 BoxOffice ® 45


BOX OFFICE

ANALYSIS

BEATING

THE SPREAD

A look at some of the

biggest surprise hits at

the box office in recent

years

by Jesse Rifkin

After a year in

which certain

politicians

performed far

better than

pre-election

polls ​predicted,

Boxoffice

decided to

ask ourselves

the equivalent

question for the ​exhibition industry​:​which movies

have most over-performed their anticipated box office ​

projections​? Here are five films from the 21st century that

earned the most,​relative to what was anticipated.

DEADPOOL

Undoubtedly the biggest box office surprise of 2016, this was

indeed a superhero movie, but it broke almost every rule that had

helped make superhero movies Hollywood’s highest-grossing category.

Deadpool was rated R, considered the ultimate nonstarter for

the lucrative, teen-friendly superhero genre. It was released in

February, neither the summer nor holiday seasons when virtually

every other superhero film had been released up to that point. Ryan

Reynolds starred in the title role, despite low expectations following

his previous superhero turn in the 2011 box office disappointment

Green Lantern. And Deadpool was a comparatively obscure superhero,

with little name recognition outside the existing comic book

fandom.

Instead, the film posted a $132.4 million opening weekend,

smashing the previous inflation-adjusted February opening-weekend

record set by The Passion of the Christ and R-rated opening-weekend

record set by 2003’s The Matrix Reloaded. Put another way, Deadpool’s

opening was larger than the $116.6 million that Green Lantern

earned during its entire run. (And that opened

in June, traditionally one of the best

months for box office.)

Deadpool ended

with $363.0 million

total, higher than the

$330.3 million earned

by the same year’s Batman

v. Superman: Dawn

of Justice. It’s doubtful that

a single person predicted it

at the beginning of the

year, considering that Batman and Superman separately had each

produced some of the highest-grossing films of all time, and this was

their first joint appearance after decades of speculation.

MY BIG FAT GREEK WEDDING

IFC Films has released 397 films in its history. Their second- and

third-highest grossing releases are 2014’s Boyhood with $25.3 million

and 2002’s Y Tu Mama Tambien with $13.8 million. Leaving those

two in the dust was 2002’s romantic comedy My Big Fat Greek Wedding,

with its astounding $241.4 million. Adjusted for ticket-price

inflation, that would be an even more incredible $356.6 million

today. That’s not merely a little bit more than the studio’s next-closest

films—it’s so much more that it almost boggles the mind.

Greek Wedding had so much stacked against it. The title was a

mouthful. There were no A-list stars. And the film only started playing

in 108 theaters upon its April 2002 release, gradually expanding and

only reaching its eventual peak of 2,016 theaters a full six months later,

in October, after hugely positive word of mouth.

The four highest-grossing films of 2002 were probably the four that

most analysts predicted at the start of the year: Spider-Man, The Lord

of the Rings: The Two Towers, Star Wars: Episode II – Attack of the Clones,

and Harry Potter and the Chamber of Secrets. Nobody could have

predicted number five. (Alas, Greek Wedding’s 2016’s sequel earned a

comparatively paltry $59.6 million.)

Another fun fact: it’s also the highest-grossing film of this century

to have never reached first place at the weekend box office, spending

three consecutive weekends earning the silver medal behind Signs,

Barbershop, and SwimFan.

AVATAR

Nobody thought this 2009 science fiction fantasy would bomb,

but the levels by which it surpassed almost every box office record in

the book were practically unfathomable pre-release.

The film opened in December 2009 to “only” $77.0 million—not

an unimpressive sum, to be sure, but not in the top 100 highest

opening weekends of all time when adjusted for inflation.

Some wrote off its box office potential right then.

The next weekend, something incredible happened: it

declined by only 1.8 percent, which for all intents and purposes

means it earned about the same amount on its second

weekend as its first. For a film debuting in wide release,

this virtually never happens; even a decline of as little

as 20 or 25 percent is cause for celebration. Adjusted

for inflation, the film now holds the ninth-best second

weekend of all time.

But it was after that when eyeballs in the studio’s accounting

office truly started popping. Get ready for an onslaught

of numbers: adjusted for inflation, Avatar now claims

the 2nd-highest third weekend, the highest fourth

weekend, 2nd-highest fifth weekend, 3rd-highest

sixth weekend, 2nd-highest seventh weekend,

4th-highest eighth weekend, 3rd-highest ninth

weekend, 3rd-highest 10th weekend, and

5th-highest 11th weekend of all time.

Ending up with $749.7 million, the film

became the penultimate earner at the box

office of this century, behind only Star Wars:

The Force Awakens.

46 BoxOffice ® FEBRUARY 2017


FAHRENHEIT 9/11

Documentaries, almost as a rule, do not

make huge profits, but even some of the

most loved and (seemingly) most watched

documentaries of this century were middling

performers at the cinema: 2003’s Spellbound

made $5.7 million, 2013’s 20 Feet From Stardom

made $4.9 million, and 2012’s Searching

for Sugar Man made $3.6 million.

Fahrenheit revolutionized the entire genre’s

box office potential with its $119.1 million

total, or about $165.2 million adjusted for

inflation. Its opening gross alone of $23.9

million ($33.1 million adjusted) exceeded

the entire sum of director Michael Moore’s

previous highest performing film, 2002’s

Bowling for Columbine—a film that had been

considered a huge financial success by documentary

standards.

Audiences flocked to Fahrenheit’s relevant

and controversial political message, wanting

to see what the water-cooler crowd was

talking about before the election instead of

waiting for the DVD release. To this day it

remains by far the highest-grossing documentary

of all time, earning tens of millions above

the second-place nature documentary, 2005’s

March of the Penguins (which itself could be a

contender for inclusion in this article).

BRIDESMAIDS

Female-centric Hollywood films, especially

comedies, were a rare sight indeed back in

May 2011. On paper, Bridesmaids seemed an

unlikely candidate to break that mold.

The three leads were Kristen Wiig, Maya

Rudolph—arguably two of the less famous

Saturday Night Live cast members of the

2000s and 2010s, at least prior to the film’s

release—and an at-the-time virtually unknown

Melissa McCarthy. All the leads were

40-ish women, and the title seemed to tell

men they wouldn’t be interested. And like the

aforementioned Deadpool, it was rated R and

going up that month against the expensive

PG-13 blockbusters Thor and Pirates of the

Caribbean: On Stranger Tides.

It opened in second place but then

dropped only 20.4 percent in its second

weekend, then 20.7 percent in its third, then

27.3 percent in its fourth, and then 16.4

percent in its fifth on terrific word of mouth.

In fact, cinemas accommodated the demand

by playing it in more theaters nationwide on

its second, third, and even its fourth weekend

than it played in upon its debut. That’s

essentially unheard of for a film that begins in

wide release.

The movie ended with $169.1 million in

total, earning improbable Oscar nominations

for Best Supporting Actress and Original

Screenplay. (Oscar almost always nominates

late-year dramas instead of summer comedies.)

More broadly, it spawned the big

rise in R-rated female-driven comedies this

decade, one of the most unpredicted—and

most lucrative—Hollywood trends of the

2010s. In the five years since Bridesmaids, The

Heat made $159.5 million, Bad Moms made

$113.2 million, Spy made $110.8 million,

and Trainwreck made $110.2 million. It’s

questionable whether any of those would

have been greenlit by the financially

conscious studios if not for the box office

success of Bridesmaids. n

FEBRUARY 2017 BoxOffice ® 47


SOCIAL

MEDIA

TIMELINE

REVIEW

2016

A look back

at the year in

social media tracking

n Social media buzz oftentimes lines up nicely with box office expectations

and returns, but that’s not necessarily the rule. As evidenced several times

this year, viral buzz does not always translate to revenue or vice versa—

which can lead analysts to some interesting inferences and conclusions.

This article looks at 2016’s box office grosses to date (as of January 6, 2017)

for all 141 wide releases and expansions (20 are shown below). We compare a

film’s box office ranking to its rankings for Twitter buzz, as gauged by tweets

by Alex Edghill

from Monday to Sunday of its release week. The theory behind this analysis is

that films that saw little variance between their box office and Twitter-buzz

ranks are considered to have performed as expected. Films that had a much higher

Twitter-buzz rank than box office rank, by the same logic, are considered underperformers

at the box office. Lastly, films that had a much higher box office rank than

Twitter-buzz rank were either surprise hits, or they primarily targeted an underserved

social media demographic, often the case with family films.

R E L E A S E W E E K T W E E T R A N K I N G S

1

2

3

4

5

Suicide

Squad

Tweets: 2,915,227

B.O. Rank: 9

Gross: $325,100,054

Difference: -8

Batman v Superman:

Dawn of Justice

Tweets: 2,587,338

B.O. Rank: 8

Gross: $330,360,194

Difference: -6

Rogue One:

A Star Wars Story

Tweets: 2,337,413

B.O. Rank: 2

Gross: $451,407,837

Difference: 1

Deadpool

Tweets: 2,164,214

B.O. Rank: 6

Gross: $363,070,709

Difference: -2

Finding

Dory

Tweets: 1,193,449

B.O. Rank: 1

Gross: $486,295,561

Difference: 4

RANK TITLE TWEETS GROSS B.O. RANK DIFFERENCE

6 Ghostbusters 804,126 $128,350,574 19 -13

7 Captain America: Civil War 705,174 $408,084,349 3 4

8 Zootopia 553,929 $341,268,248 7 1

9 The Conjuring 2 449,413 $102,470,008 26 -17

10 Fantastic Beasts and Where to Find Them 401,509 $226,851,395 11 -1

11 The Purge: Election Year 368,379 $79,213,375 35 -24

12 Doctor Strange 311,892 $230,516,184 10 2

13 Moana 228,313 $217,744,971 12 1

14 X-Men: Apocalypse 228,228 $155,442,489 16 -2

15 The Jungle Book 206,296 $364,001,123 5 10

16 The Divergent Series: Allegiant 181,975 $66,184,051 44 -28

17 Sausage Party 181,469 $97,670,358 27 -10

18 Zoolander 2 175,073 $28,848,693 87 -69

19 Now You See Me 2 154,473 $65,075,540 45 -26

20 Star Trek Beyond 140,098 $158,848,340 15 5

48 BoxOffice ® FEBRUARY 2017


NO SURPRISES HERE

The majority of the year’s top 10 films held few surprises, as they

all were ranked high on Twitter as well. Giants such as Finding Dory

(No. 2 box office rank and No. 5 Twitter rank), Rogue One: A Star

Wars Story (No. 2 box office rank, No. 3 Twitter rank) and Deadpool

(No. 4 Twitter rank and No. 6 box office rank) all lined up really

nicely with the ranking system.

That said, of the 141 films in the analysis, only one was perfectly

synched between Twitter and box office rank at the time of

writing this article: Miss Peregrine’s Home for Peculiar Children. It

was ranked 32nd across both measures. For all films, the correlation

between Twitter and box office ranking was very strong, at just over

.75.

UNDERACHIEVERS

Films that Twitter indicated would perform much better than

they did included Blair Witch (No. 29 rank on Twitter and No. 101

rank at the box office), Zoolander 2 (No. 18 rank on Twitter and

No. 87 rank at the box office) and Gods of Egypt (No. 35 rank on

Twitter and No. 83 box office rank).

Early social media tracking suggested rough going in the case

of other box office misses in 2016—The Finest Hours, Ben-Hur,

and Deepwater Horizon were very much in synch with their Twitter

ranks. There are many plausible reasons for the delta here, including

the possibility that much of the buzz could have been negative,

with many people discussing their disinterest or dismay; perhaps

those films’ target demographics are especially active on Twitter in

general. Or the search string used for the film might have captured

a large number of false positives in search results.

THE SURPRISES

At the other end of the scale, we had many films that performed

much better at the box office than their Twitter rankings seemed

to indicate. This most notably included The Secret Life of Pets (No.

4 rank at the box office and No. 27 rank on Twitter), Sing (No. 13

rank at the box office and counting, No. 66 rank on Twitter) and

Trolls (No. 17 rank at the box office and No. 104 rank on Twitter).

The recurring theme here is that the films that underperformed on

social media were often in the family genre and specifically targeted

to younger kids—which makes sense since that is one of the most

underserved demographics on Twitter itself.

While 2016 releases are still raking in revenue, nothing will stop

Disney from being the huge winner of the year. With more than $7

billion in international revenue, it broke virtually all studio records

and still continues to churn out the dollars thanks to Rogue One: A

Star Wars Story, which is the gift that keeps on giving. The studio

managed four of the top five positions for domestic grosses and

indeed all of the top five international films.

While Disney also performed well on Twitter, it was Warner Bros.

that occupied the top two slots, with Suicide Squad and Batman v Superman:

Dawn of Justice. Of the top 11 films on Twitter during their

release weeks, seven were either Disney or Warner Bros. n

FEBRUARY 2017 BoxOffice ® 49


COMING SOON IN 3D

THE LEGO BATMAN MOVIE

FEBRUARY 10 · WARNER BROS.

VOICE CAST Will Arnett, Zach Galifianakis

DIR Chris McKay

GENRE Ani/Act/Fam

SPECS 3D/IMAX/Dolby Atmos

THE GREAT WALL

FEBRUARY 17 · UNIVERSAL

CAST Matt Damon, Andy Lau

DIR Zhang Yimou

GENRE Act/Adv/Thr

SPECS 3D

KONG: SKULL ISLAND

MARCH 10 · WARNER BROS.

CAST Tom Hiddleston, Brie Larson

DIR Jordan Vogt-Roberts

GENRE Act/Adv

SPECS 3D/IMAX/Dolby Dig

BEAUTY AND THE BEAST

MARCH 17 · DISNEY

CAST Emma Watson, Dan Stevens

DIR Bill Condon

GENRE Mus/Rom/Fan

SPECS 3D

GHOST IN THE SHELL

MARCH 31 · PARAMOUNT

CAST Scarlett Johansson, Pilou Asbaek

DIR Rupert Sanders

GENRE Act/Thr/SF

SPECS 3D

THE BOSS BABY

MARCH 31 · FOX/DREAMWORKS ANIMATION

VOICE CAST Alec Baldwin, Kevin Spacey

DIR Tom McGrath

GENRE Ani/Com/Fam

SPECS 3D/Dolby Dig

SMURFS: THE LOST VILLAGE

APRIL 7 · SONY/COLUMBIA

VOICE CAST Demi Lovato, Mandy Patinkin

DIR Kelly Asbury

GENRE Ani/Com/Fam

SPECS 3D

GUARDIANS OF THE GALAXY VOL. 2

MAY 5 · DISNEY

CAST Chris Pratt, Zoe Saldana

DIR James Gunn

GENRE Act/Adv/SF

SPECS 3D/IMAX/Dolby Dig

KING ARTHUR: LEGEND OF THE SWORD

MAY 12 · WARBER BROS.

CAST Charlie Hunnam, Astrid Bergés-Frisbey

DIR Guy Ritchie

GENRE Act/Adv

SPECS 3D/IMAX

50 BoxOffice ® FEBRUARY 2017


ALSO UPCOMING IN 3D

2017

MAY 19 OPEN ROAD THE NUT JOB 2: NUTTY BY NATURE

MAY 26 DISNEY PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

JUN 2 FOX/DREAMWORKS ANIMATION CAPTAIN UNDERPANTS

JUN 16 DISNEY CARS 3

JUL 7 SONY/COLUMBIA SPIDER-MAN: HOMECOMING

JUL 21 EUROPACORP FILMS VALERIAN AND THE CITY OF A THOUSAND PLANETS

AUG 11 SONY/COLUMBIA EMOJIMOVIE: EXPRESS YOURSELF

SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE

NOV. 3 DISNEY THOR: RAGNAROK

NOV 10 SONY/COLUMBIA THE STAR

NOV 22 DISNEY COCO

DEC 15 DISNEY STAR WARS: EPISODE VIII

DEC 22 FOX/DREAMWORKS ANIMATION FERDINAND

2018

FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION PROJECT

FEB 16 DISNEY BLACK PANTHER

FEB 16 FOX/DREAMWORKS ANIMATION LARRIKINS

MAR 9 DISNEY WRECK-IT RALPH SEQUEL

MAR 16 WARNER BROS. TOMB RAIDER

MAR 23 FOX ANUBIS

APR 6 DISNEY A WRINKLE IN TIME

APR 20 WARNER BROS. RAMPAGE

MAY 4 DISNEY AVENGERS: INFINITY WAR

MAY 18 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3

MAY 25 DISNEY UNTITLED HAN SOLO PROJECT

JUN 15 DISNEY THE INCREDIBLES 2

JUL 6 DISNEY ANT-MAN AND THE WASP

SEP 21 SONY/COLUMBIA HOTEL TRANSYLVANIA 3

SEP 21 WARNER BROS. S.C.O.O.B.

OCT 19 WARNER BROS. JUNGLE BOOK

NOV 2 DISNEY MULAN

NOV 9 UNIVERSAL DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS

NOV 21 DISNEY GIGANTIC

DEC 21 SONY/COLUMBIA UNTITLED ANIMATED SPIDER-MAN FILM

2019

FEB 8 WARNER BROS. THE LEGO MOVIE SEQUEL

MAR 8 DISNEY CAPTAIN MARVEL

MAY 3 DISNEY UNTITLED AVENGERS

JUN 21 DISNEY TOY STORY 4

JUL 26 SONY SPA ANIMATED FRANCHISE 1

NOV 27 DISNEY UNTITLED DISNEY ANIMATION FILM 2

DEC 25 SONY SPA ANIMATED FRANCHISE 2

2020

MAR 13 DISNEY UNTITLED PIXAR ANIMATION FILM 1

APR 3 SONY SPA ANIMATED FRANCHISE 3

JUN 19 DISNEY UNTITLED PIXAR ANIMATION FILM 2

SEP 25 SONY SPA ANIMATED FRANCHISE 4

NOV 25 DISNEY UNTITLED DISNEY ANIMATION FILM 3

DEC 18 SONY VIVO

FEBRUARY 2017 BoxOffice ® 51


FIFTY

SHADES

DARKER

FEB 10 WIDE

n I live in Seattle, the setting for this sexy

sequel to 2015’s Fifty Shades of Grey (the

sexy spelling of gray), and I assure

you that the only Anastasia within

100 miles of me is likely a cat. And

speaking of leashes and crawling

on all fours, Fifty Shades Darker

continues the BDSM adventures

of Cougar (as in WSU) Anastasia

“Ana” Steele and bazillionaire

Christian Grey. And speaking

of cougars, Kim Basinger joins

the cast as a former flame who

is bent on getting her claws back

into the back of Grey.

DISTRIBUTOR UNIVERSAL CAST

DAKOTA JOHNSON, JAMIE

DORNAN, BELLA HEATHCOTE,

KIM BASINGER DIRECTOR

JAMES FOLEY GENRE DRAMA,

ROMANCE RATING R FOR

STRONG EROTIC SEXUAL

CONTENT, SOME GRAPHIC

NUDITY, AND LANGUAGE

RUNNING TIME 115 MIN.

PICTURED: DAKOTA JOHNSON

AND JAMIE DORNAN

FILM CAPSULES

BY KENNETH JAMES BACON

52 BoxOffice ® FEBRUARY 2017


JOHN WICK: CHAPTER 2

FEB 10 WIDE

n 2014’s surprise action hit John Wick was ferocious fun, and one hopes that Keanu

Reeves’s Wick isn’t once again motivated to wreak havoc because a Russian mobster’s son

offs Wick’s dog. He won’t like Wick when he’s angry. Matrix stunt coordinator Chad

Stahelski returns to helm this new chapter—see what I did there—that sends the retired

hitman to Rome to engage in some hitman-related activities. One imagines score settling

will be involved in addition to all sorts of Keanu Fu.

DISTRIBUTOR A24 CAST KEANU REEVES, RUBY ROSE, IAN MCSHANE DIRECTOR CHAD

STAHELSKI GENRE ACTION, CRIME, THRILLER RATING TBD RUNNING TIME TBD

PICTURED: KEANU REEVES

FEBRUARY 2017 BoxOffice ® 53


ON SCREEN

THE LEGO BATMAN MOVIE

FEB 10 WIDE

n Everything is still awesome in the Lego universe, and director

Chris McKay is back at the helm for this Dark Knight–focused adventure.

McKay is the sort of fellow who named his personal website

after the director who made Randolph Scott westerns during the

1950s. That’s the sort of mind we are dealing with here. No doubt

Lego Batman will include all manner of hipster doofus Easter eggs for

the astute and/or anal-retentive viewer.

DISTRIBUTOR WARNER BROS. CAST WILL ARNETT, JENNY SLATE,

RALPH FIENNES, ZACH GALIFIANAKIS DIRECTOR CHRIS MCKAY

GENRE ANIMATION, ACTION, ADVENTURE RATING PG FOR RUDE

HUMOR AND SOME ACTION RUNNING TIME 104 MIN.

PICTURED: THE DARK KNIGHT (WILL ARNETT)

A CURE FOR WELLNESS

FEB 17 WIDE

n Movies based on previously published material or

are remakes, reboots, or reimaginings account for 13 of

the 21 films featured in this month’s On Screen. Here’s

an original idea by Revolutionary Road adapter Justin

Haythe, and it comes with a trailer that gives nothing

away. Dane DeHaan—who features in three of this

month’s entries—is sent to a weird Swiss Alps “wellness

center” to retrieve the CEO of his company. All is not

as it seems at the spa as you can see in the photo to your

right. Gore Verbinski, who has made five Johnny Depp

movies—one of them animated—directs this creep fest.

DISTRIBUTOR 20TH CENTURY FOX CAST JASON

ISAACS, DANE DEHAAN, MIA GOTH DIRECTOR GORE

VERBINSKI GENRE MYSTERY, THRILLER RATING R FOR

DISTURBING VIOLENT CONTENT AND IMAGES, SEXUAL

CONTENT INCLUDING AN ASSAULT, GRAPHIC NUDITY,

AND LANGUAGE RUNNING TIME 146 MIN.

PICTURED: MIA GOTH

54 BoxOffice ® FEBRUARY 2017


THE GREAT WALL

FEB 17 WIDE

n The cumulative résumé of all the players who put this film together is impressive. The

complex politics surrounding its making and release is equally compelling. Here we will just

address the $135 million epic. Matt Damon leads a mostly Chinese cast (the film is in English)

in an action-adventure fantasy about a couple of European mercenaries in 12th century China

who become imprisoned in the Great Wall, and are then recruited by their captors to help fight

marauding monsters who are besieging the famous fortress.

DISTRIBUTOR UNIVERSAL CAST MATT DAMON, JING TIAN, PEDRO PASCAL, WILLEM DAFOE,

ANDY LAU DIRECTOR ZHANG YIMOU GENRE ACTION, ADVENTURE, FANTASY RATING PG-13

FOR SEQUENCES OF FANTASY, ACTION, AND VIOLENCE RUNNING TIME 103 MIN.

PICTURED: PEDRO PASCAL, MATT DAMON, AND JING TIAN

FEBRUARY 2017 BoxOffice ® 55


ON SCREEN

FIST FIGHT

FEB 17 WIDE

n Three O’Clock High was a 1987 comedy directed by then

26-year-old Phil Joanou, whom many described as the next Spielberg.

Alas. Fist Fight (not as clever a title as Three O’Clock High)

has the same basic premise, but with Charlie Day as a mild-mannered

teacher challenged by another teacher (Ice Cube) to an

after-school bout. Christina Hendricks plays a drama teacher who

is infatuated with Cube’s character.

DISTRIBUTOR WARNER BROS. CAST ICE CUBE, CHARLIE DAY, CHRIS-

TINA HENDRICKS DIRECTOR RICHIE KEEN GENRE COMEDY RATING

R FOR LANGUAGE THROUGHOUT, SEXUAL CONTENT/NUDITY, AND

DRUG MATERIAL RUNNING TIME 91 MIN.

PICTURED: CHARLIE DAY AND ICE CUBE

PATIENT ZERO

FEB 17 WIDE

n It’s zombie time, but this time we’re in for a

different and intriguing take on the well-worn genre.

Eleventh Doctor Matt Smith stars as a man who has

the ability to communicate with highly intelligent

zombies, here called “the infected.” His goal is to

find the index case in hopes of finding a cure for

his afflicted wife. Natalie Dormer (Game of Thrones)

co-stars as a CDC virologist leading the scientific

effort. Director Stefan Ruzowitzky won an Oscar for

his 2007 film Die Fälscher, while screenwriter Mike

Le, who began his career as Owen Wilson’s personal

assistant, has been called out as one of Variety’s 10

Screenwriters to Watch.

DISTRIBUTOR SCREEN GEMS CAST NATALIE DORMER,

CLIVE STANDEN, MATT SMITH DIRECTOR STEFAN RU-

ZOWITZKY GENRE ACTION, DRAMA, HORROR RATING

TBD RUNNING TIME TBD

PICTURED: MATT SMITH AND STANLEY TUCCI

56 BoxOffice ® FEBRUARY 2017


ROCK DOG

FEB 24 WIDE

n This animated tale from China is based on a graphic

novel, and upon its release in its home market was

considered a failure. The animation was produced by

Reel FX Creative Studios in Texas, who were responsible

for the quite beautiful The Book of Life two years ago.

Director Ash Brannon was a co-director of Toy Story 2.

DISTRIBUTOR SUMMIT VOICE CAST LUKE WILSON,

EDDIE IZZARD, J.K. SIMMONS DIRECTOR ASH

BRANNON GENRE ANIMATION, COMEDY, FAMILY

RATING PG FOR ACTION AND LANGUAGE RUNNING

TIME 80 MIN.

PICTURED: ANGUS SCATTERGOOD (EDDIE IZZARD)

AND GERMUR (JORGE GARCIA)

TULIP FEVER

FEB 24 WIDE

n When you think the Netherlands in the 17th century,

your mind’s eye, as does mine, immediately pictures

Zach Galifianakis. It’s so true, n’est–ce pas? The star of

the excellent FX series Baskets co-stars alongside three

Oscar winners in this adaption of the historical novel

by Deborah Moggach with a screenplay by Sir Tom

Stoppard (Shakespeare in Love). Moggach wrote the

novel upon which The Best Exotic Marigold Hotel was

based (These Foolish Things). If you like 17th century

Dutch paintings, might I suggest seeking out the documentary

Tim’s Vermeer? If you like tulips, come visit

Skagit Valley, just north of Seattle, in April. It is our

state’s largest festival.

DISTRIBUTOR THE WEINSTEIN COMPANY CAST ALICIA

VIKANDER, CHRISTOPH WALTZ, CARA DELEVINGNE,

DANE DEHAAN, ZACH GALIFIANAKIS DIRECTOR

JUSTIN CHADWICK GENRE DRAMA, ROMANCE RATING

TBD RUNNING TIME 107 MIN.

PICTURED: CHRISTOPH WALTZ AND ALICIA VIKANDER

GET OUT

FEB 24 WIDE

n For the record, Keegan-Michael Key and Jordan Peele

are the funniest tandem alive (with a respectful nod to

those who’d vote for Ms. Poehler and Ms. Fey). While

Key pops up in supporting roles with regularity (he was

Obama’s translator, Luther), Peele has been rarely seen

outside of their sketch show, Key & Peele, on Comedy

Central. Here he’s written and directed a horror film for

Blumhouse, makers of The Purge.

DISTRIBUTOR UNIVERSAL CAST LAKEITH STANFIELD,

ALLISON WILLIAMS DIRECTOR JORDAN PEELE GENRE

HORROR RATING R FOR VIOLENCE, BLOODY IMAGES,

AND LANGUAGE INCLUDING SEXUAL REFERENCES

RUNNING TIME 128 MIN.

PICTURED: DANIEL KALUUYA

FEBRUARY 2017 BoxOffice ® 57


ON SCREEN

LEAP!

MARCH 3 WIDE

n A French-Canadian animated film from Montreal’s L’Atelier

Animation studio, Leap! was originally titled Ballerina until it was

changed and gussied up with that exclamation point. I love those!

(see below). Elle Fanning leads the English-language voice cast in

this story set in the Paris Opera Ballet during the late 19th century.

Fanning voices Félicie, a pre-teen with dreams of becoming a

prima ballerina.

DISTRIBUTOR THE WEINSTEIN COMPANY VOICE CAST ELLE FAN-

NING, DANE DEHAAN, MADDIE ZIEGLER DIRECTORS ERIC SUMMER,

ÉRIC WARIN GENRE ANIMATION, ADVENTURE, FAMILY RATING TBD

RUNNING TIME 89 MIN.

PICTURED: FÉLICIE MILLINER (ELLE FANNING)

BEFORE I FALL

MARCH 3 WIDE

n Groundhog Day is among the most loved movies. The

Dalai Lama loves it! It’s a Broadway musical! And here we

have a young-adult version. The book on which Before I

Fall is based is a first-person account of Samantha, who

dies in an auto accident and must relive that day, every

day, until she “gets things right,” whatever those things

are. Queens native Lauren Oliver was in her mid-twenties

when she wrote the novel and claims she wrote it, chapter

by chapter, on her Blackberry during rides on the subway

while then e-mailing them to herself for later editing.

Seems right—I wrote this on my iPad in a Greek restaurant.

They have the best gyros. Stupendous gyros.

DISTRIBUTOR OPEN ROAD CAST ZOEY DEUTCH, ELENA

KAMPOURIS, JENNIFER BEALS DIRECTOR RY RUSSO-

YOUNG GENRE DRAMA, MYSTERY RATING TBD RUNNING

TIME 99 MIN.

PICTURED: CYNTHY WU, ZOEY DEUTCH, HALSTON SAGE,

AND MEDALION RAHIMI

58 BoxOffice ® FEBRUARY 2017


LOGAN

MARCH 3 WIDE

n The video game The Last of

Us—the best ever devised, as

adjudged by me—concerns a

wizened, grizzled survivor who’s

tasked with getting a young girl

with a special power from here to

there. It’s a stunner of a game (a

sequel is in the works— “yippee!”

as a young Anakin would say) and

would make a hell of a movie.

There was even an announcement

of a forthcoming adaptation. Then

the trailer for this came out, and

gamers across the cosmos (well,

me) have resigned themselves (or

me) to that not likely happening.

Why? In Fox’s Logan—you know

him as Wolverine—our favorite

mutant is now a wizened, grizzled

survivor who’s tasked with getting

a young girl with a special power

from here to there.

DISTRIBUTOR 20TH CENTURY

FOX CAST HUGH JACKMAN, BOYD

HOLBROOK, DORIS MORGADO

DIRECTOR JAMES MANGOLD GENRE

ACTION, DRAMA, SCI-FI RATING

TBD RUNNING TIME TBD

PICTURED: HUGH JACKMAN AND

DAFNE KEEN

FEBRUARY 2017 BoxOffice ® 59


ON SCREEN

T2: TRAINSPOTTING

MARCH 3 WIDE

n The druggie quartet returns! What is it about? Here’s what Sony

says: “Sorrow, loss, joy, vengeance, hatred, friendship, love, longing,

fear, regret, diamorphine, self-destruction, and mortal danger.” The

faces were new then, but 20 years on Jonny Lee Miller is solving

crimes on CBS’s Elementary, Ewen Bremner is in the upcoming

Wonder Woman, Robert Carlyle has appeared in over 100 episodes of

ABC’s Once Upon a Time, and Ewan McGregor is frickin’ Obi-Wan!

DISTRIBUTOR THE WEINSTEIN COMPANY / DIMENSION CAST EWAN

MCGREGOR, JONNY LEE MILLER, EWEN BREMNER, ROBERT CARLYLE,

KELLY MACDONALD DIRECTOR DANNY BOYLE GENRE DRAMA RAT-

ING R RUNNING TIME TBD

PICTURED: EWEN BREMNER

THE SHACK

MARCH 3 WIDE

n I confess to not being able to get my head around

faith-based movies—universally awful as films, but

extremely popular with the audience for whom they

are made. Even Mel Gibson’s Passion of the Christ, the

highest-grossing independent movie of all time, posted

a meager 49 percent on Rotten Tomatoes. The Shack

won’t post Passion box office numbers, but it could be

a faith-based film that breaks from the pack. It features

a solid cast, a seasoned screenwriter, and is based on a

hugely popular novel that presents the Holy Trinity in a

unique (and highly controversial) fashion: there they are

to the right, with Avatar’s Sam Worthington.

DISTRIBUTOR LIONSGATE CAST OCTAVIA SPENCER,

SAM WORTHINGTON, RADHA MITCHELL DIRECTOR

STUART HAZELDINE GENRE DRAMA RATING TBD RUN-

NING TIME 132 MIN.

PICTURED: AVIV ALUSH , SAM WORTHINGTON,

OCTAVIA SPENCER, AND ALICE BRAGA

60 BoxOffice ® FEBRUARY 2017


KONG: SKULL ISLAND

MARCH 10 WIDE

n This is not the first Kong movie set in the seventies. Dino De

Laurentiis’s version with newcomer Jessica Lange was made in 1976

with seven-time Oscar winner for makeup Rick Baker in the monkey

suit. Somehow, someway, this outing is set in the same universe as

2014’s modern day Godzilla—it’s all about shared universes now: the

upcoming The Mummy with Tom Cruise is also going that route with

Dr. Jekyll (and Mr. Hyde) and other Universal Studios monsters.

DISTRIBUTOR WARNER BROS. CAST TOM HIDDLESTON, BRIE LAR-

SON, TOBY KEBBELL DIRECTOR JORDAN VOGT-ROBERTS GENRE AC-

TION, ADVENTURE, FANTASY RATING PG-13 FOR INTENSE SEQUENC-

ES OF SCI-FI VIOLENCE AND ACTION, AND FOR BRIEF STRONG

LANGUAGE RUNNING TIME TBD

PICTURED: THE MIGHTY KONG

THE BELKO EXPERIMENT

MARCH 17 WIDE

n In between Guardians of the Galaxy gigs, writer

James Gunn wrote and produced this office high-rise

thriller, shot in Bogota, Colombia, that premiered at

TIFF last fall. A group of 80 Americans are locked in

their company headquarters, while an unseen voice

announces over the loudspeaker that they must kill

three of their co-workers or six will be killed. The

game—or experiment—of kill or be killed becomes

more complex as time wears on. Scandal’s President

Grant, Tony Goldwyn, stars along with Guardians’

Michael Rooker.

DISTRIBUTOR HIGH TOP RELEASING CAST ADRIA

ARJONA, JOSH BRENER, TONY GOLDWYN DIRECTOR

GREG MCLEAN GENRE ACTION, HORROR, THRILLER

RATING R FOR STRONG BLOODY VIOLENCE THROUGH-

OUT, LANGUAGE INCLUDING SEXUAL REFERENCES,

AND SOME DRUG USE RUNNING TIME 88 MIN.

PICTURED: TONY GOLDWYN

FEBRUARY 2017 BoxOffice ® 61


ON SCREEN

BEAUTY AND THE BEAST

MARCH 17 WIDE

n Emma Watson was originally going to play Mia in La La

Land with Miles Teller, but begged off to star in this live-action

adaptation of the animated classic. The question arose: can she

sing? It was such a mystery that a clip of her essaying a few bars

of “Something There” was finally tweeted out in late December.

While not the ringing sound of Broadway vet and original

Disney Belle Paige O’Hara, we can all rest easy. No Autotune

jokes here. The Beast is played via a mix of live action and

performance capture by Downton Abbey’s Dan Stevens, whose

voice is so fulsome and resonant he wins awards for narrating

audiobooks.

DISTRIBUTOR DISNEY CAST EMMA WATSON, DAN STEVENS,

LUKE EVANS DIRECTOR BILL CONDON GENRE FAMILY,

FANTASY, MUSICAL RATING PG FOR SOME ACTION VIOLENCE,

PERIL, AND FRIGHTENING IMAGES RUNNING TIME TBD

PICTURED: EMMA WATSON

62 BoxOffice ® FEBRUARY 2017


EVENT CINEMA

CALENDAR

FATHOM EVENTS fathomevents.com • 855-473-4612

DIRTY DANCING 30TH ANNIVERSARY Weds, 2/1/17 Classic Film

BOLSHOI BALLET: SWAN LAKE Sun, 2/5/17 Ballet

TCM BIG SCREEN CLASSICS: AN AFFAIR TO REMEMBER 60TH ANNIVERSARY (1957) Sun, 2/12/17 & Wed, 2/15/17 Classic Film

DISNEY’S NEWSIES: THE BROADWAY MUSICAL!

Thurs, 2/16/17, Sat, 2/18/17 &

Wed, 2/22/17

Theatre

GEORGE TAKEI’S ALLEGIANCE: THE BROADWAY MUSICAL ON THE BIG SCREEN Sun, 2/19/17 Theatre

IS GENESIS HISTORY? Thurs, 2/23/17 Documentary

THE MET LIVE IN HD: RUSALKA Sat, 2/25/2017 & Wed, 3/1/17 Opera

TCM BIG SCREEN CLASSICS: ALL ABOUT EVE (1950) Sun, 3/5/17 & Wed, 3/8/17 Classic Film

SWORD ART ONLINE THE MOVIE - ORDINAL SCALE - A SPECIAL EVENT Thurs, 3/9/17 Anime

THE MET LIVE IN HD: LA TRAVIATA Sat, 3/11/2017 & Wed, 3/15/17 Opera

BOLSHOI BALLET: A CONTEMPORARY EVENING Sun, 3/19/17 Ballet

THE MET LIVE IN HD: IDOMENEO Sat, 3/25/17 & Wed, 3/29/17 Opera

FACING DARKNESS Thurs, 3/30/17 Inspirational

TCM BIG SCREEN CLASSICS: NORTH BY NORTHWEST (1959) Sun, 4/2/17 & Wed, 4/5/17 Classic Film

THE CASE FOR CHRIST LIVE EVENT Thurs, 4/6/17 Inspirational

BOLSHOI BALLET: A HERO OF OUR TIME Sun, 4/9/17 Ballet

THE MET LIVE IN HD: EUGENE ONEGIN Sat, 4/22/17 & Wed, 4/26/17 Opera

TED CINEMA EXPERIENCE: TED2017 OPENING EVENT Mon, 4/24/17 Conference

TED CINEMA EXPERIENCE: TED2017 PRIZE EVENT Tues, 4/25/17 Conference

TCM BIG SCREEN CLASSICS: THE GRADUATE 50TH ANNIVERSARY (1967) Sun, 4/23/17 & Wed, 4/26/17 Classic Film

TED CINEMA EXPERIENCE: TED2017 HIGHLIGHTS EXCLUSIVE Sun, 4/30/17 Conference

THE MET LIVE IN HD: DER ROSENKAVALIER Sat, 5/13/2017 & Wed, 5/17/17 Opera

TCM BIG SCREEN CLASSICS: SMOKEY AND THE BANDIT 40TH ANNIVERSARY (1977) Sun, 5/21/17 & Wed, 5/24/17 Classic Film

TCM BIG SCREEN CLASSICS: THE GODFATHER 45TH ANNIVERSARY (1972) Sun, 6/4/17 and Wed, 6/7/17 Classic Film

TCM BIG SCREEN CLASSICS: SOME LIKE IT HOT (1959) Sun, 6/11/17 and Wed, 6/14/17 Classic Film

TCM BIG SCREEN CLASSICS: FAST TIMES AT RIDGEMONT HIGH

35TH ANNIVERSARY (1982)

Sun, 7/30/17 & Wed, 8/2/17

Classic Film

TCM BIG SCREEN CLASSICS: BONNIE AND CLYDE 50TH ANNIVERSARY (1967) Sun, 8/13/17 and Wed, 8/16/17 Classic Film

ROYAL OPERA HOUSE roh.org.uk/cinemas • cinema@roh.org.uk

WOOLF WORKS Wed, 2/8/17 Ballet

THE SLEEPING BEAUTY Tue, 2/28/17 Ballet

MADAMA BUTTERFLY Thurs, 3/30/17 Opera

JEWELS Tue, 4/11/17 Ballet

THE DREAM / SYMPHONIC VARIATIONS / MARGUERITE AND ARMAND Wed, 6/7/17 Ballet

OTELLO Wed, 6/28/17 Opera

SPECTICAST specticast.com • 866-996-2842

ANNA KARENINA Thu, 1/19/17 Theatre

WAYNE’S WORLD: 25TH BIRTHDAY BASH Tue, 2/7/17 Film

THE BLACK MONK Thu, 3/2/17 Theatre

MACBETH Sat, 3/18/17 Theatre

THREE COMRADES Thu, 4/13/17 Theatre

LOVE’S LABOUR’S LOST Sat, 4/29/17 Theatre

64 BoxOffice ® FEBRUARY 2017


Compiled by Diogo Busato

BOOKING

GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

A24 646-568-6015

THE BLACKCOAT’S

DAUGHTER

Fri, 3/31/17 LTD.

Emma Roberts, Kiernan

Shipka

Osgood Perkins NR Hor

FREE FIRE FFri, 4/21/17 WIDE Sharlto Copley, Armie Hammer Ben Wheatley R Com/Act

THE LOVERS Fri, 5/5/17 NY/LA Debra Winger, Tracy Letts Azazel Jacobs NR Rom/Com

DISNEY 818-560-1000 Ask for Distribution

BEAUTY AND THE BEAST Fri, 3/17/17 WIDE Emma Watson, Dan Stevens Bill Condon PG

Mus/Rom/

Fan

BORN IN CHINA Fri, 4/21/17 WIDE John Krasinski Chuan Lu G Doc

GUARDIANS OF THE

GALAXY VOL. 2

Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF

PIRATES OF THE

CARIBBEAN: DEAD MEN

TELL NO TALES

Fri, 5/26/17 WIDE

Johnny Depp, Orlando Bloom

Joachim Rønning,

Espen Sandberg

NR

Act/Adv

3D

3D/IMAX/Dolby

Dig

3D/IMAX/Dolby

Dig

CARS 3 Fri, 6/16/17 WIDE Owen Wilson, Cristela Alonzo Brian Fee NR Ani/Adv/Fam 3D

UNTITLED DISNEY LIVE

ACTION FAIRY TALE 1

THOR: RAGNAROK

Fri, 7/28/17 WIDE NR Fan

Fri, 11/3/17 WIDE

Tom Hiddleston, Chris

Hemsworth, Idris Elba

Taika Waititi NR Act/Adv/Fan 3D/IMAX

COCO Fri, 11/22/17 WIDE Benjamin Bratt Lee Unkrich NR Ani

STAR WARS: THE LAST JEDI

BLACK PANTHER

Fri, 12/15/17 WIDE

Fri, 2/16/18 WIDE

Daisy Ridley, John Boyega,

Oscar Isaac

Chadwick Boseman, Lupita

Nyong’o

WRECK-IT RALPH SEQUEL Fri, 3/9/18 WIDE John C. Reilly, Sarah Silverman

A WRINKLE IN TIME

AVENGERS: INFINITY WAR

UNTITLED HAN SOLO STAR

WARS ANTHOLOGY FILM

Fri, 4/6/18 WIDE

Fri, 5/4/18 WIDE

Fri, 5/25/18 WIDE

Oprah Winfrey, Reese

Witherspoon

Robert Downey Jr., Chris

Evans

Alden Ehrenreich, Donald

Glover

Rian Johnson NR Act/Adv/SF

Ryan Coogler NR Act/Adv/SF

Phil Johnston, Rich

Moore

Anthony Russo & Joe

Russo

Phil Lord &

Christopher Miller

NR

NR

NR

NR

Ani/Adv/Fam

Fan

Act/Adv/SF

Act/Adv/SF

THE INCREDIBLES 2 Fri, 6/15/18 WIDE Brad Bird NR Ani/Adv/Fam

ANT-MAN AND THE WASP Fri, 7/6/18 WIDE Paul Rudd, Evangeline Lilly Peyton Reed NR Act/Adv/SF

UNTITLED DISNEY LIVE

ACTION 1

Fri, 8/3/18 WIDE

MULAN Fri, 11/2/18 WIDE NR Act/Adv

FOCUS FEATURES 424-214-6360

RAW Fri, 3/10/17 LTD. Garance Marillier Julia Ducournau NR Hor/Thr

THE ZOOKEEPER’S WIFE

Fri, 3/31/17 LTD.

Jessica Chastain, Johan

Heldenbergh

Niki Caro NR Bio/Dra/His

THE BOOK OF HENRY Fri, 6/16/17 LTD. Naomi Watts, Lee Pace Colin Trevorrow PG-13 Dra

THE BEGUILED Fri, 6/23/17 LTD. Colin Farrell, Nicole Kidman Sofia Coppola NR Dra/His

THE COLDEST CITY Fri, 7/28/17 LTD. Sofia Boutella, James McAvoy David Leitch NR Thr

VICTORIA AND ABDUL Fri, 9/22/17 LTD. Judi Dench, Ali Fazal Stephen Frears NR Dra

DARKEST HOUR Fri, 11/24/17 WIDE Gary Oldman, Lily James Joe Wright NR Bio

UNTITILED LAIKA FILM Fri, 5/18/18 WIDE NR

FOX 310-369-1000 / 212-556-2400

NR

3D/IMAX/Dolby

Dig

A CURE FOR WELLNESS Fri, 2/17/17 WIDE Dane DeHaan, Mia Goth Gore Verbinski NR Hor/Thr Dolby Dig

FEBRUARY 2017 BoxOffice ® 65


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

LOGAN

Fri, 3/3/17 WIDE

Hugh Jackman, Boyd

Holbrook

THE BOSS BABY Fri, 3/31/17 WIDE Alec Baldwin, Kevin Spacey Tom McGrath PG

James Mangold NR Act/Adv IMAX

SNATCHED Fri, 5/12/17 WIDE Amy Schumer, Goldie Hawn Jonathan Levine NR Com

ALIEN: COVENANT

DIARY OF A WIMPY KID:

THE LONG HAUL

Fri, 5/19/17 WIDE

Fri, 5/19/17 WIDE

Michael Fassbender, Katherine

Waterston

Alicia Silverstone, Tom Everett

Scott

Ani/Com/

Fam

Ridley Scott NR SF/Thr

David Bowers NR Com/Fam

CAPTAIN UNDERPANTS Fri, 6/2/17 WIDE Ed Helms, Kevin Hart David Soren NR

Ani/Com/

Fam

3D/Dolby Dig

3D

WAR FOR THE PLANET

OF THE APES

KINGSMAN:

THE GOLDEN CIRCLE

Fri, 7/14/17 WIDE Andy Serkis, Woody Harrelson Matt Reeves NR Act/SF

Fri, 10/6/17 WIDE Taron Egerton, Julianne Moore Matthew Vaughn NR Act/Thr

THE MOUNTAIN

BETWEEN US

Fri, 10/20/17 WIDE

Charlie Hunnam, Rosamund

Pike

Hany Abu-Assad NR Dra/Rom

RED SPARROW Fri, 11/10/17 WIDE Jennifer Lawrence Francis Lawrence NR Thr

MURDER ON THE

Fri, 11/22/17 WIDE Johnny Depp, Daisy Ridley Kenneth Branagh NR Dra/Mys

ORIENT EXPRESS

FERDINAND Fri, 12/22/17 WIDE Carlos Saldanha NR Ani/Fam 3D

THE GREATEST SHOWMAN

ON EARTH

MAZE RUNNER:

THE DEATH CURE

Mon, 12/25/17 WIDE Hugh Jackman Michael Gracey NR Mus/Dra

Fri, 1/12/18 WIDE

Dylan O’Brien, Kaya

Scodelario

Wes Ball NR SF/Thr IMAX

THE PREDATOR Fri, 2/9/18 WIDE Shane Black NR Act/SF/Hor

UNTITLED FOX / MARVEL

FILM 1

Fri, 3/2/18 WIDE NR Act/Adv/SF

ANUBIS Fri, 3/23/18 WIDE Chris Wedge NR Ani 3D

UNTITLED FOX / MARVEL

FILM 2

Fri, 6/29/18 WIDE NR Act/Adv/SF

ALITA: BATTLE ANGEL Fri, 7/20/18 WIDE Rosa Salazar, Christoph Waltz Robert Rodriguez NR

Act/Adv/

Rom

UNTITLED FOX / MARVEL

Fri, 11/2/18 WIDE NR Act/Adv/SF

FILM 3

FOX SEARCHLIGHT 212-556-2400

David Oyelowo, Rosamund

A UNITED KINGDOM

Fri, 2/10/17 LTD.

Guy Hibbert PG-13 Dra/His

Pike

TABLE 19

Fri, 3/3/17 WIDE

Anna Kendrick, Craig

Robinson

Jeffrey Blitz PG-13 Com/Dra

WILSON Fri, 3/24/17 LTD. Woody Harrelson, Judy Greer Craig Johnson R Com

GIFTED Wed, 4/7/17 LTD. Chris Evans, Mckenna Grace Marc Webb PG-13 Dra

MY COUSIN RACHEL Fri, 7/14/17 LTD. Rachel Weisz, Sam Claflin Roger Michell NR Dra/Rom

LIONSGATE 310-309-8400

WAR ON EVERYONE

Fri, 2/3/17 LTD.

Alexander Skarsgård, Michael

Peña

John Michael

McDonagh

R

Act/Com

JOHN WICK: CHAPTER 2 Fri, 2/10/17 WIDE Keanu Reeves, Common Chad Stahelski NR Act/Thr

EVERYONE LOVES

SOMEBODY

THE GIRL WITH ALL THE

GIFTS

Fri, 2/17/17 WIDE

Fri, 2/24/17 LTD.

Karla Souza, José María

Yazpik

Gemma Arterton, Paddy

Considine

Catalina Aguilar

Mastretta

Colm McCarthy

ROCK DOG Fri, 2/24/17 WIDE Luke Wilson, Eddie Izzard Ash Brannon NR Ani/Fam

NR

Com

66 BoxOffice ® FEBRUARY 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

THE SHACK

POWER RANGERS

Fri, 3/3/17 WIDE

Fri, 3/24/17 WIDE

Sam Worthington, Octavia

Spencer

Elizabeth Banks, Dacre

Montgomery

Stuart Hazeldine NR Dra

Dean Israelite NR Act/Adv/Fam

WONDER Fri, 4/7/17 WIDE Julia Roberts, Jacob Tremblay Stephen Chbosky NR Dra

HOW TO BE A LATIN LOVER Fri, 4/28/17 WIDE Kristen Bell, Rob Lowe Ken Marino NR Com

THE HITMAN’S BODYGUARD

Fri, 8/18/17 WIDE

Ryan Reynolds, Samuel L.

Jackson

Patrick Hughes NR Act/Com

GRANITE MOUNTAIN Fri, 9/22/17 WIDE Jennifer Connelly, Miles Teller Joseph Kosinski NR Dra

MY LITTLE PONY Fri, 10/6/17 WIDE Tara Strong, Emily Blunt Jayson Thiessen NR Ani/Fan/Fam

THE COMMUTER Fri, 10/13/17 WIDE Liam Neeson, Vera Farmiga Jaume Collet-Serra NR Act

SAW: LEGACY

Fri, 10/27/17 WIDE

Michael Spierig, Peter

Spierig

ROBIN HOOD Fri, 3/23/18 WIDE Taron Egerton, Jamie Foxx Otto Bathurst NR Adv

OPEN ROAD FILMS 310-696-7504

Felicity Jones, Anthony

COLLIDE

Fri, 2/3/17 WIDE

Eran Creevy PG-13 Act/Thr

Hopkins

BEFORE I FALL Fri, 3/3/17 WIDE Zoey Deutch, Logan Miller Ry Russo-Young NR Dra

SPARK Fri, 4/14/17 WIDE Jessica Biel, Susan Sarandon Aaron Woodley NR Ani

THE NUT JOB 2: NUTTY BY

NATURE

ALL I SEE IS YOU

Fri, 5/19/17 WIDE Will Arnett, Katherine Heigl Cal Brunker NR

Fri, 8/4/17 WIDE

Blake Lively, Yvonne

Strahovski

NR

Hor

Ani/Com/

Fam

Marc Forster NR Dra/Thr

SHOW DOGS Fri, 11/10/17 WIDE Will Arnett, Natasha Lyonne Raja Gosnell NR Com/Fam

PARAMOUNT 323-956-5000

RINGS Fri, 2/3/17 WIDE Matilda Lutz, Alex Roe F. Javier Gutiérrez NR Hor

SAME KIND OF DIFFERENT

AS ME

GHOST IN THE SHELL

UNTITLED PARAMOUNT

EVENT HORROR FILM

Fri, 2/3/17 WIDE

Fri, 3/31/17 WIDE

Djimon Hounsou, Greg

Kinnear

Scarlett Johansson, Pilou

Asbæk

Michael Carney NR Dra

Rupert Sanders NR Act/Thr/SF 3D

Fri, 4/28/17 WIDE NR Hor IMAX

BAYWATCH Fri, 5/26/17 WIDE Dwayne Johnson, Zac Efron Seth Gordon NR Act/Com

WORLD WAR Z 2 Fri, 6/9/17 WIDE Brad Pitt NR Act/Hor

TRANSFORMERS: THE LAST

KNIGHT

Fri, 6/23/17 WIDE

Mark Wahlberg, Isabela

Moner

Michael Bay NR Act/Adv/SF

FRIDAY THE 13TH Fri, 10/13/17 WIDE Breck Eisner NR Hor

2017 CLOVERFIELD MOVIE Fri, 10/27/17 WIDE NR SF/Thr IMAX

DOWNSIZING Fri, 12/22/17 WIDE Matt Damon, Kristen Wiig Alexander Payne NR Com

GNOMEO & JULIET:

SHERLOCK GNOMES

Fri, 1/12/18 WIDE James McAvoy, Emily Blunt John Stevenson NR

Ani/Com/

Fam

TRANSFORMERS 6 Fri, 6/8/18 WIDE NR SF/Act

MISSION: IMPOSSILBE 6 Fri, 7/27/18 WIDE Tom Cruise, Rebecca Ferguson

UNTITLED PARAMOUNT

EVENT FILM

SONY 212-833-8500

Fri, 11/2/18 WIDE

Christopher

McQuarrie

T2: TRAINSPOTTING Fri, 3/3/17 LTD. Ewan McGregor, Robert Carlyle Danny Boyle NR Dra

NR

NR

Act/Adv

3D

LIFE

Fri, 3/24/17 WIDE

Ryan Reynolds, Jake

Gyllenhaal

Daniel Espinosa NR SF/Thr

FEBRUARY 2017 BoxOffice ® 67


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

SMURFS: THE LOST VILLAGE Fri, 4/7/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury NR

ROCK THAT BODY

SPIDER-MAN:

HOMECOMING

THE DARK TOWER

Fri, 6/16/17 WIDE

Scarlett Johanson, Kate

McKinnon

Ani/Com/

Fam

Lucia Aniello NR Com/Dra

Fri, 7/7/17 WIDE Tom Holland, Marisa Tomei Jon Watts NR Act/Adv

Fri, 7/28/17 WIDE

Idris Elba, Matthew

McConaughey

Nikolaj Arcel NR Wes/Act/Fan

3D

3D/IMAX/Dolby

Atmos

THE EMOJI MOVIE Fri, 8/4/17 WIDE James Corden, Ilana Glazer Tony Leondis NR Ani 3D

BABY DRIVER Fri, 8/11/17 WIDE Ansel Elgort, Lily James Edgar Wright NR Act/Com/Cri Dolby Atmos

CADAVER Fri, 8/25/17 WIDE Stana Katic, Shay Mitchell Diederik Van Rooijen NR Hor

THE EQUALIZER 2 Thu, 9/14/17 WIDE Denzel Washington NR Act/Thr

THE SOLUTREAN

FLATLINERS

Fri, 9/15/17 WIDE

Fri, 9/29/17 WIDE

Kodi Smit-McPhee, Leonor

Varela

Nina Dobrev, Kiefer

Sutherland

Albert Hughes NR Act/Dra/Thr

Niels Arden Oplev NR Dra/Hor/SF

THE STAR Fri, 11/10/17 WIDE Timothy Reckart NR Ani

HE’S OUT THERE

Fri, 12/1/17 WIDE

Yvonne Strahovski, Justin

Bruening

Dennis Iliadis NR Hor

JUMANJI Fri, 12/22/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR

Adv/Fan/

Fam

BAD BOYS FOR LIFE Fri, 1/12/18 WIDE Will Smith, Martin Lawrence Joe Carnahan NR Act/Thr

GOOSEBUMPS 2 Fri, 1/26/18 WIDE NR

SLENDERMAN Fri, 2/2/18 WIDE Sylvain White NR Hor

PETER RABBIT Fri, 3/23/18 WIDE Will Gluck

Rose Byrne, James

Corden

NR

Com/Fam/

Hor

BARBIE Fri, 6/29/18 WIDE Amy Schumer NR Com

HOTEL TRANSYLVANIA 3 Fri, 9/21/18 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky NR

Fam/Ani

Ani/Com/

Fam

UNTITLED ANIMATED

SPIDER-MAN FILM

Fri, 12/21/18 WIDE Bob Persichetti NR Ani/Act/Fam

SONY PICTURES CLASSICS Tom Prassis 212-833-4981

LAND OF MINE Fri, 2/17/17 LTD Roland Møller, Louis Hofmann Martin Zandvliet R Dra/His/War

13 MINUTES Fri, 3/17/17 NY/LA

Christian Friedel, Katharina

Schüttler

Oliver Hirschbiegel NR Dra/His/War

NORMAN: THE MODERATE

RISE AND TRAGIC FALL OF

A NEW YORK FIXER

Fri, 4/14/17 NY/LA

Richard Gere, Charlotte

Gainsbourg

Joseph Cedar NR Dra/Com

PARIS CAN WAIT Fri, 5/12/17 NY/LA Diane Lane, Araud Viard Eleanor Coppola NR Rom/Com

MAUDIE Fri, 6/16/17 NY/LA Ethan Hawke, Sally Hawkins Aisling Walsh NR Bio/Dra/Rom

STX ENTERTAINMENT 310-742-2300

Asa Butterfield, Britt

THE SPACE BETWEEN US

Fri, 2/3/17 WIDE

Peter Chelsom PG-13 Adv/SF/Rom

Robertson

THEIR FINEST Fri, 3/24/17 LTD. Sam Claflin, Jake Lacy Lone Scherfig NR Com

THE CIRCLE Fri, 4/28/17 WIDE Emma Watson, Tom Hanks James Ponsoldt NR Thr

BAD DADS Fri, 7/14/17 WIDE NR Com

VALERIAN AND THE CITY OF

A THOUSAND PLANETS

RENEGADES

Fri, 7/21/17 WIDE

Fri, 9/1/17 WIDE

Dane DeHaan, Cara

Delevingne

J.K. Simmons, Sullivan

Stapleton

A BAD MOMS CHRISTMAS Fri, 11/3/17 WIDE Mila Kunis, Kristin Bell

Luc Besson NR Act/Adv/SF

Steven Quale PG-13 Act/Thr

Jon Lucas, Scott

Moore

NR

Com

68 BoxOffice ® FEBRUARY 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

UNIVERSAL 818-777-1000

FIFTY SHADES DARKER

Fri, 2/10/17 WIDE

Dakota Johnson, Jamie

Dornan

James Foley R Dra/Rom

THE GREAT WALL Fri, 2/17/17 WIDE Matt Damon, Andy Lau Zhang Yimou PG-13 Act/Adv/Thr 3D

GET OUT

Fri, 2/24/17 WIDE

Daniel Kaluuya, Allison

Williams

Jordan Peele NR Hor

THE FATE OF THE FURIOUS Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray NR Act/Cri IMAX

UNTITLED 2017

BLUMHOUSE HORROR

PROJECT 2

Fri, 4/28/17 WIDE NR Hor

THE MUMMY Fri, 6/9/17 WIDE Tom Cruise, Sofia Boutella Alex Kurtzman NR Act/Adv

DESPICABLE ME 3 Fri, 6/30/17 WIDE Steve Carell, Kristen Wiig

Kyle Balda & Pierre

Coffin

GIRL TRIP Fri, 7/21/17 WIDE Regina Hall Malcolm D. Lee NR Com

AMERICAN MADE

THE SNOWMAN

Fri, 9/29/17 WIDE

Fri, 10/13/17 WIDE

Tom Cruise, Domhnall

Gleeson

Michael Fassbender, Rebecca

Ferguson

NR

Ani/Com/

Fam

Doug Liman NR Cri/Thr

Tomas Alfredson NR Cri/Thr

INSIDIOUS: CHAPTER 4 Fri, 10/20/17 WIDE Lin Shaye Adam Robitel NR Hor/Thr

LET IT SNOW Fri, 11/22/17 WIDE Luke Snellin NR Rom/Com

PITCH PERFECT 3 Fri, 12/22/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks NR Com/Mus

UNTITLED 2018

BLUMHOUSE HORROR

PROJECT 1

FIFTY SHADES FREED

LARRIKINS

Fri, 1/5/18 WIDE NR Hor

Fri, 2/9/18 WIDE

Fri, 2/16/18 WIDE

Dakota Johnson, Jamie

Dornan

Margot Robbie, Hugh

Jackman

James Foley NR Dra/Rom

NR

Ani/Com

PACIFIC RIM: UPRISING Fri, 2/23/18 WIDE Scott Eastwood, John Boyega Steven S. DeKnight NR SF/Act

UNTITLED 2018 UNIVERSAL

MONSTER FRANCISE FILM

Fri, 4/13/18 WIDE NR Hor

THE PACT Fri, 4/13/18 WIDE Leslie Mann, John Cena Kay Cannon R Com

JURRASIC WORLD SEQUEL

Fri, 6/22/18 WIDE

Chris Pratt, Bryce Dallas

Howard

J.A. Bayona NR Act/Adv

THE SECRET LIFE OF PETS 2 Fri, 7/13/18 WIDE Chris Renaud NR

UNTITLED UNVIERSAL

EVENT FILM 1

UNTITLED 2018

BLUMHOUSE HORROR

PROJECT 2

DR. SEUSS’ HOW THE

GRINCH STOLE CHRISTMAS

Fri, 10/8/18 WIDE

NR

Ani/Com/

Fam

Fri, 10/19/18 WIDE NR Hor

Fri, 11/9/18 WIDE

Benedict Cumberbatch

Peter Candeland,

Yarrow Cheney

MORTAL ENGINES Fri, 12/14/18 WIDE Christian Rivers NR SF

WARNER BROS. 818-977-1850

NR

Ani/Com/

Fam

THE LEGO BATMAN MOVIE Fri, 2/10/17 WIDE Will Arnett, Zach Galifianakis Chris McKay NR Ani/Adv/Fam

FIST FIGHT Fri, 2/17/17 WIDE Ice Cube, Charlie Day Richie Keen R Com

KONG: SKULL ISLAND Fri, 3/10/17 WIDE Tom Hiddleston, Brie Larson Jordan Vogt-Roberts PG-13 Act/Adv

CHIPS Fri, 3/24/17 WIDE Michael Peña, Dax Shepard Dax Shepard NR Act/Com

3D/IMAX/Dolby

Atmos

3D/IMAX/Dolby

Dig

GOING IN STYLE

Fri, 4/7/17 WIDE

Morgan Freeman, Michael

Caine

Zach Braff PG-13 Com/Cri

FEBRUARY 2017 BoxOffice ® 69


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

UNFORGETTABLE

Fri, 4/21/17 WIDE

Rosasio Dawson, Katherine

Heigl

Denise Di Novi NR Thr

KING ARTHUR: LEGEND OF

THE SWORD

Fri, 5/12/17 WIDE

Charlie Hunnam, Astrid

Bergès-Frisbey

Guy Ritchie NR Act/Adv 3D/IMAX

EVERYTHING, EVERYTHING

Fri, 5/19/17 WIDE

Amandla Stenberg, Nick

Robinson

Stella Meghie

WONDER WOMAN Fri, 6/2/17 WIDE Gal Gadot, Chris Pine Patty Jenkins NR Act/Adv Dolby Atmos

THE HOUSE Fri, 6/30/17 WIDE Will Ferrell, Amy Poehler Andrew J. Cohen NR Com

DUNKIRK Fri, 7/21/17 WIDE Tom Hardy, Kenneth Branagh Christopher Nolan NR Act/Thr/War IMAX

ANNABELLE 2

Fri, 8/11/17 WIDE

Stephanie Sigman, Alicia

Vela-Bailey

David F. Sandberg NR Hor/Thr

IT Fri, 9/8/17 WIDE Finn Wolfhard, Bill Skarsgård Andrés Muschietti NR Hor/Thr

THE LEGO NINJAGO MOVIE Fri, 9/22/17 WIDE Dave Franco, Michael Peña Charlie Bean NR Ani/Adv/Fam 3D/IMAX

BLADE RUNNER 2049 Fri, 10/6/17 WIDE Ryan Gosling, Harrison Ford Denis Villeneuve NR SF/Thr

GEOSTORM Fri, 10/20/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin NR Act/Thr/SF 3D/IMAX

JUSTICE LEAGUE Fri, 11/17/17 WIDE Ben Affleck, Gal Gadot Zack Snyder NR Act/Adv

UNTITLED WARNER BROS.

PG-13 COMEDY

UNTITLED WARNER

ANIMATION GROUP

Fri, 12/22/17 WIDE PG-13 Com

Fri, 2/9/18 WIDE NR Ani

MEG Fri, 3/2/18 WIDE Jason Statham, Bingbing Fan Jon Turteltaub NR Act/Hor/SF

TOMB RAIDER Fri, 3/16/18 WIDE Alicia Vikander Roar Uthaug NR Act/Adv 3D

READY PLAYER ONE Fri, 3/30/18 WIDE Simon Pegg, T.J. Miller Steven Spielburg NR Act/SF/Thr

RAMPAGE Fri, 4/20/18 WIDE Dwayne Johnson Brad Peyton NR Adv/Fan

LIFE OF THE PARTY

OCEAN’S 8

Fri, 5/11/18 WIDE

Fri, 6/8/18 WIDE

Melissa McCarthy, Julie

Bowen

Sandra Bullock, Cate

Blanchett

Ben Falcone NR Com

Gary Ross NR Cri

UNTITLED 2018 DC FILM 2 Fri, 7/27/18 WIDE NR Act/Adv/SF

S.C.O.O.B.

Fri, 9/21/18 WIDE

Tony Cervone, Dax

Shepard

A STAR IS BORN Fri, 9/28/18 WIDE Bradley Cooper, Lady Gaga Bradley Cooper NR

NR

Ani/Com/

Fam

Dra/Mus/

Rom

AQUAMAN Fri, 10/5/18 WIDE Jason Momoa, Amber Heard James Wan NR Act/Adv/SF

JUNGLE BOOK Fri, 10/19/18 WIDE Rohan Chand, Andy Serkis Andy Serkis NR Adv/Dra

FANTASTIC BEASTS AND

Fri, 11/16/18 WIDE

WHERE TO FIND THEM 2

WEINSTEIN CO./DIMENSION 646-862-3400

Eddie Redmayne, Johnny

Depp

David Yates NR Act/Adv/Fan

TULIP FEVER Fri, 2/24/17 MOD. Alicia Vikander, Dane DeHaan Justin Chadwick NR Dra/Rom

LEAP! Fri, 3/13/17 WIDE Elle Fanning, Maggie Ziegler

Eric Summer and Eric

Warin

NR

Ani

AMITYVILLE: THE

AWAKENING

Fri, 6/30/17 WIDE

Jennifer Jason Leigh, Bella

Thorne

Franck Khalfoun PG-13 Hor/Thr

POLAROID Fri, 8/25/17 WIDE Lars Klevberg NR Hor/Sus

WAR WITH GRANDPA Fri, 10/20/17 WIDE Robert De Niro Tim Hill NR Fam/Com

THE SIX BILLION DOLLAR

MAN

Fri, 12/22/17 WIDE

Mark Wahlberg

Peter Berg, Damián

Szifrón

NR

Act/SF

70 BoxOffice ® FEBRUARY 2017


C O M I N G I N M A R C H

CEO

Julien Marcel

VP CREATIVE SERVICES

Kenneth James Bacon

VP CONTENT STRATEGY

Daniel Loria

BOXOFFICE ®

Boxoffice Hall of Fame n New Products n Exhibition Briefs

Charity Spotlight n Concessions n Social Media

Event Cinema Profile n Inside Your Theater

Technology n Exhibitor Relations

THE BOXOFFICE CINEMACON ISSUE

WITH AN ADDITIONAL INTERNATIONAL DAY SPECIAL EDITION

20TH CENTURY FOX

PG 25

ARTS ALLIANCE MEDIA

PG 4

CARDINAL SOUND

PG 72

CHRISTIE

INSIDE FRONT COVER

DOLPHIN SEATING

PG 63

ENPAR AUDIO

PG 49

FANDANGO

PG 2

HARKNESS SCREENS

PG 7, 8

IRWIN SEATING

PG 11

LIGHTSPEED/DEPTHQ

PG 72

MOBILIARIO

PG 15

MOC INSURANCE SERVICES

PG 3

NATIONAL CINEMEDIA

PG 20

NATO

PG 19

ODELL’S

PG 37

OMNITERM

PG 45

PEACH DIGITAL

PG 27

PROCTOR COMPANIES

PG 39

QSC AUDIO PRODUCTS

BACK COVER

READY THEATER SYSTEMS

PG 43

REALD

PG 50–51

RETRIEVER SOFTWARE

PG 47

SENSIBLE CINEMA

PG 72

SONIC EQUIPMENT

PG 13

SPOTLIGHT CINEMA NETWORKS

PG 17

USHIO

PG 35

VIP CINEMA SEATING

PG 1

WEBEDIA

PG 27

WHITE CASTLE

PG 41

WILL ROGERS MOTION PICTURE PIONEERS

FOUNDATION

INSIDE BACK COVER

BOXOFFICE ® (ISSN 0006-8527), Volume 153, Number 2, February 2017. BOXOFFICE ® is published monthly by BoxOffice

Media, LLC, 63 Copps Hill Road, Ridgefield, CT USA 06877, USA. corporate@boxoffice.com. www.boxoffice.com. Basic annual

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EDITORIAL DIRECTOR

Daniel Loria

MANAGING EDITOR

Laura Silver

CONTRIBUTORS

Esther Baruh

Patrick Corcoran

James Devin

Alex Edghill

David Hancock

Jesse Rifkin

PRODUCTION ASSISTANT

Ally Bacon

BOXOFFICEPRO.COM

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ANALYSTS

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DATABASE MANAGEMENT

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ADVERTISING

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FEBRUARY 2017 BoxOffice ® 71


Passive Polarization

for 3D Digital Cinema

Fast, Bright, Reliable...

Quality you can Trust.

Over 1,950

locations worldwide.

www.depthq3d.com

BUYING & SELLING

MARQUEE LETTERS. Buying and selling. New and

Used marquee letters all types. We buy old. We

sell new. All styles. Trade in your old letters and

get new letters. Turn those old letters into cash.

Your source for new Pronto, Zip-Change, Snap

Lok, Slotted. mike@pilut.com 800-545-8956

LOOKING TO PURCHASE 3-8 screen venue in

California or south western United States. Contact:

Atul Desai 949-291-5700

DRIVE-IN CONSTRUCTION

DRIVE-IN SCREEN TOWERS since 1945. Selby

Products Inc., P.O. Box 267, Richfield, OH 44286.

Phone: 330-659-6631.

EQUIPMENT WANTED

ASTER AUDITORIUM SEATING & AUDIO. We

offer the best pricing on good used projection

and sound equipment. Large quantities available.

Please visit our website, www.asterseating.com,

or call 888-409-1414.

AMERICAN ENTERTAINMENT PRODUCTS LLC is

buying projectors, processors, amplifiers, speakers,

seating, platters. If you are closing, remodeling

or have excess equipment in your warehouse

and want to turn equipment into cash, please

call 866-653-2834 or email aep30@comcast.net.

Need to move quickly to close a location and dismantle

equipment? We come to you with trucks,

crew and equipment, no job too small or too

large. Call today for a quotation: 866-653-2834.

Vintage equipment wanted also! Old speakers

like Western Electric and Altec, horns, cabinets,

woofers, etc., and any tube audio equipment. Call

or email: aep30@comcast.net.

DIRECTOR OF MOTION

PICTURE THEATER

OPERATIONS

sought for new giant

screen theater at the

National Museum of

the Marine Corps at Quantico, VA.

Experience with digital projection,

theater automation, point of sale

and state of the art sound systems

required. Contact Susan Hodges,

hodges@marineheritage.org (800)

397-7585. Marine Corps Heritage

Foundation.

COLLECTOR WANTS TO BUY: We pay top money

for any 1920-1980 theater equipment. We’ll

buy all theater-related equipment, working or

dead. We remove and pick up anywhere in the

U.S. or Canada. Amplifiers, speakers, horns, drivers,

woofers, tubes, transformers; Western Electric,

RCA, Altec, JBL, Jensen, Simplex and more.

We’ll remove installed equipment if it’s in a closing

location. We buy projection and equipment

too. Call today: 773-339-9035; cinema-tech.com;

email ILG821@aol.com.

FOR SALE

LEGENDARY 4 STAR THEATRE in San Francisco

for sale; great neighborhood, corner location. 2

screens. Zoned NC-40. Currently open; first-run

mainstream and foreign films. Excellent demographics.

Locally owned operated since 1992.

Great commercial development opportunity for

right operator. 3400 square feet, price includes

prime real estate and business. www.lntsf.com.

Send inquiries to 4starlnt@gmail.com. Principals

only

CLASSIC CINEMAS is looking to sell 616 slightly

used electric 1st edition Bliss Loungers to replace

with the new Bliss Zero Lounger. They are selling

22” wide electric reclining loveseats in excellent

condition with lit aisle and seat tags. If interested,

please call Jeremy Chupp at 770-823-1330.

USED DIGITAL PROJECTORS, (5) complete

booths including sound equipment. Three years old.

Contact seller at moviescope1000@gmail.com.

2 BRAND NEW 3000 watts Christie Xenon lamps

for 35mm projectors. Contact: Atul Desai 949-

291-5700.

BARCO 3D/DIGITAL EQUIPMENT FOR SALE:

Purchase for $55K. Equipment list provided upon

request. Contact seller at mschwartz@pennprolaw.com.

PREFERRED SEATING COMPANY, your source

for new, used and refurbished theater and stadium

seating. Buying and selling used seating is

our specialty. Call toll-free 866-922-0226 or visit

our website www.‐preferred-seating.com.

USED DIGITAL PROJECTORS Two NEC NC1200

with two-year warranty $23,000. Six new NEC

NC900 with lens $18,000. Warranty starts when

installed. Used servers and USL hearing-impaired

equipment. Call Stetson Snell 505-615-2913. Email

stetsonsnell@enparaudio.com.

18 SETS OF USED 35MM AUTOMATED PROJEC-

TION SYSTEM (comes with Projector, Console,

Automation Unit and Platter) comprising of 10

sets of Christie and 8 sets of Strong 35mm system

available on ‘as is where is’ basis in Singapore.

Contact seller at engthye_lim@cathay.com.

sg

APPROXIMATELY 2,000 SEATS FOR SALE.

MOBILIARIO high-back rockers with cup holders.

Located in Connecticut. Contact (203)758-2148.

6 PLEX EQUIPMENT PACKAGE. 6 complete

booths digital projectors/sound, 72 speakers,

seats, screens/frames, concession equipment,

computers, led signs/marquees, safe/misc equipment.

Serious inquiries only. For equipment list

email contact@digitalequipmenttechnologies.

com or call 801-548-0108 or fax 801-281-0482.

HELP WANTED

TRI STATE THEATRE SUPPLY in Memphis, TN

has openings for experienced Digital Cinema

Techs nationwide. Please send your resume to

include qualifications, certifications and salary requirements

to fred@tristatetheatre.com

THEATRE MANAGEMENT POSITIONS AVAIL-

ABLE Pacific Northwest Theatre Company. Previous

management experience required. Work

weekends, evenings and holidays. Send resume

and salary history to movietheatrejobs@gmail.

com

POSITIONS AVAILABLE

Paragon Theaters has THEATER MANAGEMENT

POSITIONS available at multiple locations. If you

have previous management experience, please

send your resume to robert.fronckoski@paragontheaters.com.

The three-screen Stavros Niarchos Foundation

Parkway Film Center in Baltimore is seeking an

OPERATIONS DIRECTOR to oversee all aspects

of running the theater and concessions. The Film

Center, a partnership among the Maryland Film

Festival, Johns Hopkins University and MICA will

open in spring of 2017 and offer a broad range

of the world’s best art-house, independent, documentary,

and classic cinema. The full job description

and application instructions are found at mdfilmfest.com/about-the-festival/jobs.php.

SERVICES

DULL FLAT PICTURE? RESTORE YOUR XENON

REFLECTORS! Ultraflat repolishes and recoats

xenon reflectors. Many reflectors available for

immediate exchange. (ORC, Strong, Christie,

Xetron, others!) Ultraflat, 20306 Sherman Way,

Winnetka, CA 91306; 818-884-0184.

THEATER SPACE FOR LEASE

AN 8,400 SQ. FT. SPACE containing two movie

theaters is available for lease in Frankfort, KY,

at a very reasonable lease rate. It would be perfect

for the new concept of eating in the theater.

The theaters are located in the middle of a major

shopping center. The center owners would prefer

an operating movie theater rather than convert

the space into retail use. Contact Alexa at 859-

221-9921 or email her at alexarkelley@gmail.com

for more information.

72 BoxOffice ® FEBRUARY 2017

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